Resident Orchestra of Fairfield Halls, Croydon
Thursday 10 October 2013 Fairfield Halls, Croydon 7.30 pm GĂŠrard Korsten Conductor
rossini Overture to The Italian Girl in Algiers Mozart Symphony No. 40 in G minor, K550 INTERVAL
Schubert Symphony No. 6 in C major
The LMP is funded by the London Borough of Croydon
Members of the audience are reminded that it is prohibited to smoke in the auditorium or take sound recordings or photographs in any part of the performance. Any noises such as whispering, coughing, rustling of sweet papers and the beeping of digital watches are very distracting to the performers and fellow audience members. Please make sure mobile phones or pagers are switched off during the performance. In accordance with the London Borough of Croydon, members of the audience will not be permitted to stand or sit in any of the gangways. If standing is permitted in the gangways or the sides and the rear of the seating, it will be limited to the numbers exhibited in those positions. LMP and Fairfield Croydon are registered charities.
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london mozart players Founded by Harry Blech in 1949 as the UK’s first chamber orchestra, the London Mozart Players (LMP) is regarded as one of the UK’s finest ensembles. Under the leadership of Music Director Gérard Korsten, the orchestra is internationally renowned for its outstanding live performances and CD recordings, and is particularly known for its definitive performances of the core Classical repertoire. The LMP also plays an active part in contemporary music, giving many world premières and commissioning new works, especially by British composers. In recent years, the LMP has premièred new works by composers including Sir Peter Maxwell Davies, Tarik O’Regan, Sally Beamish, Cecilia McDowall, Lynne Plowman, and Fraser Trainer. In March 2011 the LMP appointed Roxanna Panufnik as Associate Composer. Since 1989, the LMP’s home has been Fairfield Halls, Croydon, thanks to generous funding from the London Borough of Croydon. This residency includes a series of subscription concerts at the hall and numerous education and community activities throughout the borough. Touring is a major part of the orchestra’s schedule, with regular appearances at festivals and concert series throughout the UK and abroad. It has strong relationships with other major UK venues, including Turner Sims Concert Hall, Southampton, and is the Orchestra in Residence for Grayshott Concerts. Overseas, the LMP has visited Spain, Belgium, France and Germany. The 2013/14 season marks the fourth year of conductor Gérard Korsten’s term as the LMP’s fifth Music Director, continuing the strong Classical tradition developed by Andrew Parrott, Matthias Bamert and Jane Glover. The season sees the orchestra welcoming back established artists including Anthony Marwood and our Conductor Laureate, Howard Shelley, whilst building new relationships with bright new stars including Mark Simpson and Laura van der Heijden. The LMP also sees its first performances with celebrated pianist Angela Hewitt, as well as acclaimed soprano, Claire Rutter, for the 70th birthday celebrations of LMP Associate Conductor, Hilary Davan Wetton. The LMP’s association with Korsten also continues the introduction of some of the best European soloists to our Fairfield season.
The LMP has developed an extensive and highly regarded education, community and audience development programme, LMP Interactive, and is particularly committed to developing new audiences in outer London boroughs as well as rural areas across the nation. Its association with the South Holland district in Lincolnshire brings the orchestra into the heart of the Fenland communities. Working with educational institutions also brings inspiring and valued relationships, providing a professional grounding for young musicians; the LMP is associated with Royal Holloway University of London, Wellington College, Wimbledon College, Portsmouth Grammar School and the Whitgift Foundation Schools in Croydon. Recent projects include ‘Sideby-side in Shepshed’ that saw composer and animateur Fraser Trainer work with seven schools in Leicestershire to build a new youth orchestra for the area, which performed alongside the LMP in a family concert. In Croydon, a START project (funded by The Prince’s Foundation for Children and the Arts) included children from primary and special needs schools working together to perform at the LMP’s annual Schools’ Concert in Fairfield Halls. Other ongoing ventures include visiting care homes and concert demonstrations in primary and secondary schools. The LMP receives project funding from Arts Council England, Orchestras Live and South Holland District Council. In addition, the LMP receives grants from trusts, foundations and many individuals, particularly the Friends of the LMP in Croydon. Recording has played a major part in the orchestra’s life for many years. Its acclaimed Contemporaries of Mozart series with Matthias Bamert for Chandos numbers over 20 CDs to date, with the latest release of Boccherini proving a success with the critics. A recording with Canadian pianist Alain Lefèvre of works by Mendelssohn, Shostakovich and Mathieu for Analekta was awarded a Canadian Juno Award. The LMP has an online CD shop: shop.lmp.org. Full details of forthcoming concerts and more information on the orchestra’s activities are available on the LMP website: www.lmp.org.
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ORCHESTRA 1st Violins Gabrielle Lester Nicoline Kraamwinkel Ann Criscuolo Martin Smith Anna de Bruin
Violas Gustav Clarkson Michael Posner Oliver Wilson James Widden
Clare Hoffman Charlotte Maclet Rebecca Scott
Cellos Sebastian Comberti Julia Desbruslais
(Chair supported by Debby Guthrie)
2nd Violins Jenny Godson David Angel Jayne Spencer Marije Ploemacher Raja Halder Vernon Dean
(Chair supported by Stuart & Joyce Aston)
(Chair supported by Jeanne & Gordon Lees)
Julia Graham
(Chair supported by Valerie Butcher)
Penny Driver
(Chair supported by Anonymous)
Flutes Robert Manasse Emilia Zakrzewska (Chair supported by
Horns Michael Kidd Martin Grainger
Barbara Tower)
Oboes Christopher O'Neal (Chair supported by Pat Sandry)
Trumpets Bruce Nockles Peter Wright
Katie Clemmow Clarinets Fiona Cross Emma Canavan
Timpani Glyn Matthews
Bassoons Julie Andrews Robert Porter
Basses Stacey Watton
(Chair supported by Louise Honeyman)
Andrew Marshall (Chair supported by Toby & Eira Jessel)
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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 1987-1996 when 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. 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. Gérard Korsten has appeared in the 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, La Traviata and La Vie Parisienne), Royal Swedish Opera (Don Giovanni), Netherlands Opera (Così fan tutte), English National Opera (Aïda) and Glyndebourne Festival Opera (Albert Herring).
© Marco Borggreve
gÉrard korsten Conductor
His past symphonic engagements have included concerts with the Budapest Festival Orchestra, Leipzig Gewandhaus, Orchestre National de Lyon, Salzburg Mozarteum, Orchestra Sinfonica Nazionale della Rai Turin, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Irish Chamber Orchestra, Camerata Salzburg, Deutsche Kammerphilharmonie, Swedish Radio Symphony, Yomiuri Nippon and Melbourne Symphony orchestras. CD recordings include Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon. With Orchestra del Teatro Lirico di Cagliari he has recorded CDs of Die ägyptische Helena and Euryanthe and DVDs of Alfonso und Estrella and Don Pasquale. His 2011 DVD of Le Nozze di Figaro (La Scala 2006) has been awarded a Diapason D’Or and was the Critic Choice in the Opera News in February 2012. Last season Gérard Korsten made his debuts with the Deutsche Radio Philharmonie and the Adelaide Symphony Orchestra. He conducted a new production of Don Giovanni at Dijon Opera with the Chamber Orchestra of Europe and returned to the BBC Scottish Symphony, Latvia National Symphony, Hong Kong Philharmonic and SWR Sinfonieorchester Freiburg. In the 2013/14 season Gérard Korsten makes his debuts with Deutsche Oper Berlin (La Traviata) and the Hungarian State Opera (Don Pasquale) and returns to Camerata Salzburg, Swedish Chamber Orchestra, Orchestra Padova e Veneto, Gavle Symphony Orchestra and Adelaide Symphony. In his last season as Music Director of the London Mozart Players he performs final concerts in London and on tour to China.
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Gioacchino Rossini (1792 - 1868)
Overture to The Italian Girl in Algiers Gioachino Rossini, one of the most successful and popular operatic composers of his time, was born in Pesaro in 1792, five months after his parents’ marriage. His father, a brass player, and later teacher of the horn at the Bologna Accademia, had a modest career, disturbed by the political changes of the period, as the French replaced the Austrians in Northern Italy. Rossini’s mother was a singer and as a boy Gioachino made his appearance with his father in the pit orchestra and from time to time as a singer with his mother on stage, going on to work as a keyboard player in the opera orchestra. Rossini’s early studies in music were with his father and mother, and with other teachers through the generosity of rich patrons. In childhood he had already started to show ability as a composer and his experience in the opera house bore natural fruit in a remarkable and meteoric career that began with the production of The Bill of Marriage in Venice in 1810. There followed a series of operas, comic and tragic, until the relatively poor reception of Semiramide in Venice in 1823 turned his attention to Paris. Under the Bourbon King Charles X Rossini staged French versions of earlier works and, in 1829, William Tell. A contract for further operas came to nothing when the King was replaced in the revolution of 1830 by Louis-Philippe, although eventually Rossini was able to have his agreed annuity restored. In 1836 he returned to Italy and in spite of ill health concerned himself with the affairs of the Liceo Musicale in Bologna. In 1853 he took up residence once again in Paris, where he enjoyed until his death in 1868 a reputation as an arbiter of musical taste, a wit and a gourmet.
Today he is mainly remembered and loved for his vast output of operas – he composed over 40 of them. The Italian Girl in Algiers was one of Rossini’s early successes. It was his 10th opera and he was just 21 years old when he composed it. He wrote the opera in an astoundingly short period of time – just 21 days! It was first staged in Venice in May 1813, the third Rossini opera to be mounted in the city that year and the first of his full comic operas. The Overture is a magnificent, if not typical, example of Rossini’s many opera overtures, introducing a plot in which the Italian girl Isabella, who is sailing the seas in search of her lover Lindoro, enslaved by the Bey of Algiers, is driven by shipwreck to that country. The Bey falls in love with her but is outwitted as Isabella and Lindoro sail away. The Overture opens with an introduction which begins quietly – strings plucking out a rhythmic and harmonic pattern setting the stage for a beautifully lyrical passage for solo oboe. Soon the orchestra begins to get more and more agitated before it calms down to its quiet beginnings. The fast section begins abruptly with the woodwinds announcing a fragment of the rhythmic pattern that is to permeate the rest of the overture. Typical of Rossini’s music, the music is punctuated here and there with loud chords for dramatic and comedic purpose. There are also virtuosic passages for the woodwinds in various guises and combinations. Perhaps Rossini’s most striking compositional technique was his unique crescendo – layering instrument upon instrument while repeating a rhythmic and melodic pattern. It is used to great effect in this fun-filled and charming jewel of an overture. © Elizabeth Boulton www.lmp.org
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Wolfgang Amadeus Mozart (1756 - 1791)
Symphony No. 40 in G minor, K550 I II III IV
Molto Allegro Andante Menuetto: Allegretto Finale: Allegro assai
The central development traces the opening figure through various keys, introducing a strongly contrapuntal element. The recapitulation is reached through a descending woodwind sequence, with the second theme now assuming particular poignancy in the minor key.
By the summer of 1788, Mozart was no longer a novelty in Vienna. After seven years of living there, he still had no court appointment commensurate with his needs and abilities, and money was increasingly difficult to find. It was under these strained circumstances that Mozart composed the three symphonies that would define the shape of the symphonic form for the next century: No. 39 in June, No. 40 in July and No. 41 (Jupiter) in August.
The Andante, in E flat, opens contrapuntally with successive entries. Despite the major key, an elegant pathos is created by the dissonance and the persistent underpinning of rhythmic repeated notes. The Minuet contains yet more counterpoint, with an accumulation of voices that sound adversarial, with rhythms askew in a rather dark setting. The tranquility of the Trio is shattered by the return of the Minuet.
Symphony No. 40 has long been considered a manifestation of Mozart’s most personal voice, full of passion and seriousness. This was emphasised when he added clarinets to the score and rewrote the oboe parts accordingly. Generally speaking, the mellow tone of the clarinets substitute the acid tone of the oboes, except in a few places where the acid tone has a decidedly melancholy effect, or where oboes and horns are used in a more pastoral style. The symphony’s characteristic richness is further accented by Mozart’s ingenious use of two horns pitched in two different keys, both of them high. This doubled the normal number of notes possible in his time on the limited scale of the horn, enabling the horns to contribute to the harmony instead of being silent.
The Finale’s opening, ‘Mannheim rocket’ (an ascending arpeggio figure), reverses the usual loud–soft dynamics by answering quiet with force. The movement’s already tenuous sense of tonality is shaken even further when it modulates from G minor to C sharp minor – the most distant key.
The symphony opens with an intensely restless and dramatic theme on the strings, which leads to a gentler second theme, shared with the wind.
As many commentators have noted, this work is without peer in its clarity and balance. It is emotionally charged but never stormy. The relentless rhythm propels, but does not force, the flow. Daring harmonies make an appearance, but, within its classical framework, Mozart gently leads the way to the overt musical emotional expressions to come in the next century. © Elizabeth Boulton The score and parts of this piece have been sponsored by Michael J. Rose.
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Franz Schubert (1797 - 1828)
Symphony No. 6 in C major I II III IV
Adagio - Allegro Andante Scherzo Allegro moderato
Schubert's intentions regarding his orchestral works were to have them performed, of course, but equally to improve himself from one work to the next. His songs were self-contained masterpieces and, in spite of his shyness and modesty, he must have known that he was able to reach perfection in them, simply through following the development dictated by the original idea. He lacked this assurance in his instrumental works, however, and therefore left more unfinished compositions than any of his now equally famous colleagues. His Unfinished Symphony remained incomplete, not because he had already learned from the two finished movements, as intended, how to cope with large dimensions. His Great C major Symphony is proof that he did. Although all his youthful symphonies are complete, his method of composition follows the same pattern: writing for possible performances and profiting from the experience. He could count on the support of two orchestras, the one of his school, and the amateurs and relatives who met for musical evenings - both evidently of a very high standard judging from the difficult parts he wrote for them, and indeed for himself as he played violin or viola in both orchestras. None of his symphonies were given proper public performances in his life-time, but at least they were played and so gave him what he always wanted: the chance to learn and to improve himself.
Musicologists have written at great length about the influence of other composers on Schubert's music, in particular on his Sixth Symphony. Interested listeners might like to ferret out echoes of Haydn, Beethoven and specially of Rossini in this work, but composers are not aware of such things while composing, even when they might adopt devices invented by others which might suit their own style. Schubert wrote his Sixth Symphony between October 1817 and February 1818. This is unusual for him because he normally composed with astonishing rapidity. It is not known why he did not complete this particular work in a matter of days. On the continent the Sixth Symphony is known as the Kleine (it is, in fact, the biggest and most ambitious of his first six), simply to distinguish it from the Great and last in the same key. Regardless of the influences, this work is very characteristic of Schubert's early style. His musical forms are still conventional but his enchanting melodies and colourful, often daring modulations could not have been invented by any other composer. In the last movement, apart from a delightful 'Rossini' episode of scales in thirds going up and then down, there is a passage identical with the major theme in the finale of his last Symphony, but Schubert was surely not aware of that. He once heard a song which intrigued him, and when he asked about the composer, he was told that it was Schubert himself. Š Stefan de Haan
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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
Board of Directors
Financial Consultant Christopher Wright
Registered in England No. 18720034
Chairman Rowan Freeland
Orchestral Librarian Martin Sargeson
Registered Charity No. 290833
Chair of the Audit Committee Rosamund Sykes
Intern Jenny Brady
Associate Composer Roxanna Panufnik
Daniel Benton Simon Funnell Richard Morgan Gillian Perkins David Wechsler
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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.
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From world-class concerts to inspiring education projects, none of the LMP’s work would be possible without the financial support we receive from our Benefactors. Our Benefactors are musical patrons, following in the footsteps of those generous, passionate and committed philanthropists who, throughout the centuries, have enabled great musicians to perform and compose. Benefactors make an annual donation of £1000 and above and enjoy a unique programme of events, including access to rehearsals, exclusive recitals, gala concerts and special receptions throughout the year. Start your own creative partnership and become a Benefactor.
Making a gift in your will Making a legacy gift to the LMP is a great way to ensure that future generations of audiences can continue to be inspired by the orchestra that has inspired you. If you have a will or are making one, this would be a good way to make a lasting provision for the future of the orchestra and because the LMP is a registered charity, your donation to us can help reduce your tax liability. If you have already remembered LMP in your will, we are very grateful. If you would like to, do please let us know (in strictest confidence). We would value the opportunity to thank you and to keep you more closely involved with our work. If you would like more information about any of these ways of supporting us, please contact 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 Arts Council England Orchestras Live South Holland District Council Corporate Sponsor M&G Investments Trusts & foundations The Foyle Foundation The Garfield Weston Foundation The Golsoncott Foundation The PRS for Music Foundation The RK Charitable Trust N. Smith Charitable Settlement Corporate Friends Peter Dunham Elite Hotels LV= Simmons & Simmons Conductors’ Circle Anonymous x 1 David & Ann Benson Daniel & Alison Benton Joanna & William Brogan-Higgins Rowan & Davina Freeland Bruna Colombo-Otten Antony & Carol Lewis-Crosby Barry & Sue O'Brien Peter & Sheelagh Smith Mr D & Mrs M Wechsler Jeffrey & Rosamund West
Benefactors Anonymous Graham Harman John Hanson Doreen Hitching in memory of Brian Hitching* André & Rosalie Hoffmann Sir Roger & Lady Sands Donors to the Annual Appeal Anonymous x 30 Cllr Graham & Jean Bass George Bray Gerald Crowther Daniel De Simone Mr I A Hamlyn Geoffrey Hurst Ros & John Rawling Brian J Stocker
Silver Supporters Anonymous x 10 Patricia Coe * Mr & Mrs A M W Rivers Mrs Marion Sunley George Sutherland Mr BE & PB Woolnough * Bronze Supporters Anonymous x 10 Nigel & Diane Elliott Chantal Keast * Donors also contributed to the annual appeal.
Golden Supporters Anonymous x 3 Hilary Anne Baily Morag Beier * Mr Quintin Gardner Geoff & Mary Hearn Margaret Jones MVO Tony & Mary Lambell Derek & Deirdre Lea * Gordon & Jeanne Lees Mr John Mead * Gillian Noble Hazel & Geoffrey Otton * Christine Robson John & Jean-Anne Tillotson *
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Friends of the London Mozart Players
forthcoming concerts Fairfield Halls, Croydon Thursday 22 October 2013 'GET IN' concert New informal classical concert Vaughan Williams
6.30pm
Symphony No. 5 in D major
Conductor/ Hilary Davan Wetton Presenter Thursday 7 November 2013 7.30pm Warlock Elgar Vaughan Williams
Capriol Suite Cello Concerto in E minor, Op.85 Symphony No. 5 in D major
Conductor Cello
Hilary Davan Wetton Laura van der Heijden
Thursday 12 December 2013
7.30pm
Mozart Mozart Ginastera Schubert
Overture to Don Giovanni Clarinet Concerto in A major Concerto for Strings, Op.33 Symphony No 1 in D major, D 82
Conductor Clarinet
Gérard Korsten Mark Simpson
Monday 23 December 2013
3pm
Christopher Bell
Thursday 30 January 2014 Dvořák Mozart Dvořák
7.30pm
Ravel R Strauss Butterworth Mendelssohn
Mother Goose Suite Four Last Songs A Shropshire Lad; Rhapsody for Orchestra Symphony No.5, Op.107 Reformation
Conductor Soprano
Hilary Davan Wetton Claire Rutter
Thursday 20 March 2014
7.30pm
Mendelssohn Schumann Schubert
The Hebrides, 'Fingal's Cave' Violin Concerto in D minor Symphony No.2 in B flat, D.125
Conductor Violin
Gérard Korsten Anthony Marwood
Thursday 10 April 2014 Poulenc Haydn Poulenc Haydn
7.30pm
Sinfonietta Piano Concerto No.11 in D Aubade Symphony 104, London
Conductor/Piano Howard Shelley
Howard Blake Raymond Briggs' The Snowman Film with live orchestra, christmas favourites Conductor
Thursday 27 February 2014
7.30pm
Symphonic Variations, Op.78 Piano Concerto No.25, K503 Symphony No.9 in E minor, Op.59 From the New World
Thursday 29 May 2014
7.45pm
Tippett Mozart Beethoven
Divertimento for Chamber Orchestra Piano Concerto No.17, K453 Symphony No.2 in D major, Op.36
Conductor Piano
Gérard Korsten Angela Hewitt
Conductor/Piano Howard Shelley
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