LMP 31/3/2012 by London Mozart Players

Resident Orchestra of Fairfield Halls, Croydon

Saturday 31 March 2012 Fairfield Halls, Croydon 7.30 pm Hilary Davan Wetton conductor Cordelia Williams piano MOZART Symphony No. 38 K504 Prague MENDELSSOHN Piano Concerto No. 1 in G Minor, Op. 25 INTERVAL

HONEGGER Pastorale d' été DVOŘÁK Czech Suite 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 Marieke Blankestijn Simon Lewis Nicoline Kraamwinkel (Chair supported by David & Beatrix Hodgson)

Ann Criscuolo Martin Smith

(Chair supported by Debby Guthrie)

Catherine van der Geest Anna de Bruin Julia Barker 2nd Violins Jenny Godson David Angel

(Chair supported by Noël & Caroline Annesley)

Jeremy Metcalfe Jayne Spencer Adrian Dunn Stephen Rouse

Violas Judith Busbridge Oliver Wilson (Chair supported by Anonymous)

Michael Posner Matthew Quenby

(Chair supported by Caroline Molloy & Andrew Lay)

Cellos Sebastian Comberti Julia Desbruslais Sarah Butcher (Chair supported by Elinor Wood)

Rachel van der Tang (Chair supported by Anonymous)

Basses Meherban Gillett (Chair supported by Louise Honeyman)

Andy Marshall

Flutes Kate Bedford

Horns Christopher Newport Tony Catterick

Nicolas Bricht

Trumpet Paul Archibald Peter Wright

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

Oboes Christopher O' Neal (Chair supported by Pat Sandry)

Timpani Ben Hoffnung

Katie Clemmow

Clarinets Angela Malsbury

(Chair supported by Stuart & Joyce Aston)

Margaret Archibald (Chair supported by Christopher Fildes)

Bassoons Adam McKenzie (Chair supported by Alec Botten)

Graham Hobbs

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

HILARY DAVAN WETTON Conductor

Hilary Davan Wetton is one of Britain's most versatile and distinguished conductors. He was Principal Conductor of the Milton Keynes City Orchestra from 1975 to 2007; from 1989 to 1996 he was also Principal Conductor of the Wren Orchestra of London. He is Musical Director of three major choirs: the City of London Choir, the Hastings Philharmonic Choir and the Surrey Festival Choir. He was FounderConductor of the Holst Singers, and directed them from 1978 to 1992. With them he made a number of recordings of music by Holst, Bliss and Britten which have all been listed in the Penguin Guide. He has also made several outstanding recordings for Hyperion and Naxos with the Guildford Choir and the Royal Philharmonic Orchestra. In 1994 his disc of Holst's Choral Symphony was awarded the Diapason d'Or. The latest disc (Vaughan Williams' Hodie) was released in October 2007. The City of London Choir has a major annual series in London's St John's Smith Square and also appears regularly at the Barbican Hall, as well as in major venues outside London. Hilary appears frequently as a guest conductor with choirs and orchestras both in Britain and overseas. 2009 concerts include performances with the RPO in London and Dorking, with the Hanover Band in London and with the London Mozart Players in the Norwich Festival and Wellington Artsfest. He made his debut in Seattle with the Bremerton Orchestra and Chorus in Brahms Requiem in May 2009. Hilary performs regularly on BBC Radio 3; he has given many premieres both with the BBC Concert Orchestra and with the Ulster Orchestra. Between 1986 and 1989 he conducted a series of first broadcasts of 19th century British symphonies (by Cipriani Potter, Sterndale Bennett, William Crotch and Samuel Wesley) with the Ulster Orchestra. Subsequently he recorded much of this repertoire with the Milton Keynes Orchestra for UnicornKanchana; the MKCO has also recorded for Hyperion, (Symphonies by Joachim Raff). In 1988 www.lmp.org

he made a series of recordings with the London Philharmonic Orchestra for Collins Classics. One of these (Holst's Planets) was the recommended version in the Penguin CD Guide. Another, (Mozart's Jupiter Symphony) was re-issued at mid price to considerable critical acclaim. In the opera pit Hilary has appeared on a number of occasions with Travelling Opera, for whom he has conducted Cosi Fan Tutte, The Marriage of Figaro, Carmen and The Barber of Seville. In 1991 he conducted for the French company Ballet du Nord, the first ever danced version of Mozart's Requiem in a double bill with Stravinsky's Apollo at London's Sadlers Wells Theatre. Recent engagements abroad have included Bulgaria, Iceland, Norway, and Australia. In 1995 he made a twelve day tour to the United States with the Milton Keynes Orchestra, culminating in two concerts in New York's Carnegie and Town Halls to capacity audiences. Hilary has a long-standing commitment to musicmaking with young people: from 1983 to 1987 he was conductor of the Orchestra of the Birmingham Conservatoire and he has worked with Youth Orchestras as far afield as Melbourne and Singapore. He was conductor of the Scottish Schools Orchestra from 1984-1995 and of the Edinburgh Youth Orchestra from 1994-1997, with whom he toured Scandinavia in 1996 and made a live broadcast on Danish Radio. On his return from this tour he made his debut with the National Children's Orchestra and was invited to return to them in 1998 for concerts in the Queen Elizabeth Hall and the Bridgewater Hall, Manchester and for their Millennium celebration concerts in 2000. He has since appeared with them regularly and conducted all their concerts in 2008 for their 30th Anniversary Season. Hilary Davan Wetton has been awarded honorary degrees by the Open University (MA) and de Montfort University (DMus).

CORDELIA WILLIAMS Piano

Since becoming the Piano Winner of BBC Young Musician 2006, Cordelia Williams has continued to build an international career as ‘one of the outstanding pianists of her generation’. She has given recital and concerto performances throughout Great Britain, as well as in France, Italy, Thailand, China, Kenya and the Gulf States, and always likes to introduce the music to her audience. During the summer of 2011 she was awarded 1st prize at the Concours International de Piano in Aix-en-Provence and 2nd prize at the Dudley International Piano Competition. Solo performance highlights for Cordelia have included a Wigmore Hall debut, as well as concerto appearances with orchestras including the CBSO, City of London Sinfonia and The Northern Sinfonia (first with conductor Yan Pascal Tortelier and subsequently with Thomas Zehetmair). The 2010-11 season brought her debut recitals at the Royal Festival Hall and the Barbican Hall in London, and Beijing Concert Hall, China. Engagements this year include a recital at the Purcell Room and performances in Salzburg, Paris and Nairobi. During the autumn she will record Schubert’s complete Impromptus for SOMM Records.

as soon as she could climb onto the piano stool. She gave her first public piano recital to celebrate her eighth birthday. Cordelia spent seven years at Chethams School of Music in Manchester, studying with Bernard Roberts. She went on to read Theology at Clare College, Cambridge, while also having piano lessons with Hamish Milne in London. She graduated with a First in 2009 and then studied as a postgraduate with Joan Havill at the Guildhall School of Music and Drama. She is very grateful to have received support from the Martin Musical Scholarship Fund, the Musicians Benevolent Fund, the Stanley Picker Trust, the City of London Corporation and the Arts and Humanities Research Council. Cordelia has recently been invited to undertake a Fellowship at the Guildhall College of Music & Drama.

Cordelia is a passionate chamber musician – in May 2008 she appeared with the Endellion String Quartet and has since performed with the Fitzwilliam String Quartet and members of the London Mozart Players. This year she will appear with the Maggini Quartet and works regularly with fellow pianist Tom Poster and baritone Ashley Riches. Alongside her performing career, Cordelia runs Cafe Muse, an innovative series of events bringing classical music out of the concert hall and into the relaxed setting of London bars and brasseries. She hopes to attract a new audience to classical music, especially people of her own generation. Hearing her mother teach piano, Cordelia wanted to learn to play too, and began lessons at home www.lmp.org

W.A MOZART (1756–1791) Symphony No. 38 in D K504, Prague I II III

Adagio—Allegro Andante Presto

When Mozart composed his Symphony No. 38 and completed it on 6 December 1786, it was his first symphony for about three years. He had intended to visit England during that period, but his father refused point blank to look after the children, and the journey across Europe and the Channel with the whole family was out of the question. However, Bondini, the impresario of the Italian opera in Prague had performed The Marriage of Figaro there with great success in December 1786, and when he invited the composer to come and witness his own popularity, Mozart accepted. "Here in Prague," Mozart wrote soon after his arrival, "one speaks of nothing but Figaro. Nothing is played, blown, sung or whistled - but Figaro! Indeed a great honour for me!" On 17 January he received a tremendous ovation at the opera, and the next day, or the day after, he gave a concert in which the Prague Symphony was performed for the first time. The concert was a success in every respect, and the net takings amounted to almost a thousand guilders. While composing this work, Mozart had no idea that it was to be first performed in Prague. The nickname dates from a later period, but Prague fully deserves the honour of being associated with this symphony. The first movement has a slow introduction in which the modulations constantly point towards the softer, darker harmonies of the flat keys. The Allegro to which this introduction leads has some affinity with the overture to Don Giovanni (the opera was also first performed in Prague later that year with even greater success). The development section is, for Mozart, exceptionally extended, and the wind instruments determine the tone colour of the score. Equally exceptional in Mozart's symphonic work is the expressive quality of the Andante. The movement has so much warmth and depth that a minuet would have upset the balance of the overall proportions. It is probably for this reason that Mozart reverted to the form of the Italian symphony in three www.lmp.org

movements he had so often used in his youth. The finale certainly provides the necessary contrast. It has an extremely light orchestral texture as well as sudden forte outbursts and many passages in which the woodwind dominate, though in a way that is totally different from the romantic melodies they played in the Andante. © Stefan de Haan

Mozart

FELIX MENDELSSOHN (1809–1847) Piano Concerto No. 1 in G Minor, Op. 25 I II III

Molto allegro con fuoco Andante Presto

Felix Mendelssohn was born in Hamburg in 1809, the son of a prosperous banker and grandson of Moses Mendelssohn, the great Jewish thinker of the Enlightenment. His family was influential in cultural circles, and he and his sister were educated in an environment that encouraged both musical and general cultural interests. At the same time the extensive acquaintance of the Mendelssohns among artists and men of letters brought an unusual breadth of mind, a stimulus to natural curiosity. Much of Mendelssohn’s childhood was passed in Berlin, where his parents moved when he was three, to escape Napoleonic invasion. There he took lessons from Goethe’s much admired Zelter, who introduced him to the old poet in Weimar. The choice of a career in music was eventually decided on the advice of Cherubini, consulted by Abraham Mendelssohn in Paris, where he was director of the Conservatoire. A period of further education followed, a Grand Tour of Europe that took him south to Italy and north to Scotland. His professional career began in earnest with his appointment as general director of music in Düsseldorf in 1833. Mendelssohn’s subsequent career was intense and brief. He settled in Leipzig as conductor of the Gewandhaus concerts, and was instrumental in establishing the Conservatory there. Briefly lured to Berlin by the King of Prussia and by the importunity of his family, he spent an unsatisfactory year or so as director of the music section of the Academy of Arts, providing music for a revival of classical drama under royal encouragement. This appointment he was glad to relinquish in 1844, later returning to his old position in Leipzig, where he died in 1847. As a boy Mendelssohn had tried his hand at the composition of concertos for one or two pianos, and had also written a concerto for piano and violin. In maturity he was to write two piano concertos, the first of which, in G minor, was composed hurriedly, as he made his way back from Italy, and written

down three days before the first performance, on 17th October 1832 in Munich, with the composer as soloist. The G Minor Concerto is unusual in a number of ways. In particular Mendelssohn dispenses with the customary orchestral exposition, as he was to do in the later Violin Concerto, allowing the orchestra a mere seven bars of introduction, before the brilliant intervention of the soloist with a virile subject characterised by a descending octave leap and ascending octave scale. From this the orchestra borrows a dotted rhythm and fashions material of its own in response. The second subject is surprisingly wide-ranging in key, moving via B flat minor to D flat major, where it remains until B flat major is regained via a brief reprise of the first theme. A full restatement of the secondary melody is heard from the orchestra, accompanied by flowing semiquavers from the piano. This material casts a Romantic mantel over what might otherwise seem a movement of Classical succinctness. The short development makes use of both subjects. The recapitulation moves into the soulful slow movement via a dramatic brass entry on a chord of B major and subsequent cadenza. The characteristic principal theme is stated by the strings and restated in gently decorated form by the piano. This is demonstrable ‘Song without Words’ territory. The movement expands naturally into a simple ternary structure embracing only brief and incidental migrations from the tonic and dominant key areas. The movement comes to a complete standstill on a sustained chord of E major, although the score indicates that the final Presto follows almost at once. The finale contains a lyrical, virtuoso tune that defies analysis in its simplicity and floridity. The resurgent repeated chord device for accompaniment enhances the sense of a light rather than an elegant purpose, almost suggesting the style of the drawing room galop so beloved of the later Victorians. The work’s concision proclaims an aversion to self-regarding display, and its conclusion admits of the conventional orchestral last word. © Elizabeth Boulton

INTERVAL OF 20 MINUTES www.lmp.org

ARTHUR HONEGGER (1891–1955) Pastorale d'été Honegger is one of the most eminent composers of the years between the two world wars. His music has been popular in this country, in particular the Mouvement Symphonique 'Pacific 231', and his 'Roi David', a splendid oratorio with a narrator, much loved by choral societies - but is it still?

Honegger composed the Poéme Symphonique Pastorale d'été at Wengen, Switzerland, during his holidays in 1920. At the top of the score there is a quotation from the poetry of Rimbaud: "J'ai embrassé l' aube d'été " (I have embraced the summer's dawn) but, as Honegger points out, there is no literary or pictorial allusion intended in the music.

Performances follow fashions as rigorously as models follow them on the catwalk. If Sibelius is 'in', his symphonies are performed ad nauseam, if not, only his little pieces ('Finlandia', etc.) remain. It seems that Honegger is now out of fashion in this country but that is no more a judgement on the quality of his music than it is on that of Sibelius.

The instrumentation of the Pastorale d'été consists of a woodwind quintet including horn, and strings. The pastoral character and the simple musical form suggest, as Honegger did himself, that words and analysis might spoil the pleasure of listening to this compostion. As he was probably right, we shall now let the music speak for itself.

In a little book of radio interviews recorded in Paris about 1951, Honegger reveals his thoughts about composition. Regarding the future of composers he is very pessimistic but his commitment to music is positive, and so are his intentions. He says: "It has always been my wish and endeavour to write music intelligible to the vast majority of listeners, while it is free from banality to such an extent that it would also hold the attention of true lovers of music." (In a letter to his father Mozart said the same with different words.) Trying to explain the complex process of composing, Honegger refuses to analyse and express the principal problem by saying: "Composing is like leaning a ladder against a wall which is not there."

Honegger was born of Swiss parents at Le Havre. He studied music in Zurich and later in Paris. His orientation is wholly towards French music (he was member of the composers' club 'Les Six') but a healthy element of Swiss common sense allowed him to go beyond the nationalistic limitations in the music of his French colleagues.

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ANTONÍN DVOŘÁK (1841–1904) Czech Suite Pastorale Polka Sousedska Romance Furiant It was not until Dvořák was in his late thirties that his music began to be internationally known. His most enthusiastic advocate was no less a person than Brahms, who introduced him to Simrock the music publishers and persuaded them to publish his protégé’s Moravian Duets. These and the Slavonic Dances which followed had an enormous success and Simrock immediately put Dvořák on exclusive contact for all his future work. Unfortunately they were much less interested in his serious work than in the commercial exploration of his Slav idiom. As soon as he realised this, Dvořák was furious, and made up his mind to keep this Suite (his next work) out of their hands. The work is unusual for Dvořák in being scored for chamber orchestra, and he may have had a special affection for it, as the fruit of his new self-confidence and success; but the fact remains that he faked its opus number, pretended it was a much earlier work and sent it off to one of Simrock’s competitors. The movements all have picturesque or characteristic titles: a Pastorale founded on a drone bass is followed by a Polka and a Sousedska (where he said clarinets and bassoons make their entrance midway “just as they do in Bohemia”). The fourth movement is a Romance in a dialogue between flute and cor anglais, and the Suite ends with another Czech Dance, “Furiant”, a triple-time dance from Bohemia whose title, somewhat intemperate to Anglo Saxon ears, conveys to Czechs no sort of ‘furious’ connotation. Quite the reverse; the idiomatic kink in the rhythm is entirely pleasurable.

The

Choral Pilgrimage 2012

Croydon Minster 20 April 2012, 7.30pm The Sixteen’s UK tour The Choral Pilgrimage comes to Croydon Minster - featuring music by Renaissance composers Josquin, Brumel and Lassus.

Tickets: £10 - £20

Box Offices: 01904 651485 020 8688 8104

‘Voices of Classic FM’ and stars of BBC Four Sacred Music TV series Booking fees – National: £1 including postage. Local: no charges.

E IZ W R A P R D

Bring this slip to the concert to be entered into our prize draw. 1st prize - two tickets to a Choral Pilgrimage 2013 concert (promoted by Dvořák The Sixteen) 2nd prize - five of The Sixteen’s single CDs from the CORO catalogue Name Email

Tel.

.5 I do not want to receive email updates from The Sixteen 2 winners will be drawn from all slips collected from all concerts in The Sixteen’s Choral Pilgrimage 2012 tour. Closing date: 30 October 2012. No cash alternative www.lmp.org to prizes. Winners will be notified by email and/or phone by 16 November 2012. For full terms and conditions please visit www.thesixteen.com. CP200403

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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 7 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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LMP MANAGEMENT Patron HRH The Earl of Wessex KG GCVO

Administration Managing Director Simon Funnell

Music Director Gérard Korsten

General Manager David Wilson

Associate Conductor Hilary Davan Wetton

London Mozart Players Fairfield Halls Park Lane Croydon CR9 1DG

Development Manager Sue McCrossan

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

Council of Management

Concerts & Projects Manager Caroline Molloy

Registered in England No. 18720034

Chairman Rowan Freeland

Marketing & PR consultant Chloë Brookes

Registered Charity No. 290833

Chair of the Audit Committee Rosamund Sykes

financial consultant Christopher Wright

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

FORTHCOMING LMP CONCERTS Thursday 26 April

7.30pm

BEETHOVEN GRIEG BRAHMS

Coriolan Overture Piano Concerto Symphony No.1

Conductor/ Piano

Howard Shelley

FAIRFIELD HALLS, CROYDON 020 8688 9291 Saturday 19 May

7.30pm

EBERL HARTMANN SCHUBERT BEETHOVEN

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

Conductor Violin

Gérard Korsten Benjamin Schmid

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