CUE THE NEW

Fig. 1

CUE THE NEW:

HOW TO LISTEN TO THE 21ST CENTURY

Fig. 2

2016/17 SEASON

STEP 1

STEP 2

The past 16 years have produced some astounding music: works of beauty, complexity and drama that deserve to be listened to, not just heard.

So here’s a season of opportunities to truly listen to the sound of the 21st century. Through our residency at Southbank Centre, UK and international touring we perform commissions, premieres and experiments that represent some of the best musical inventions of our time. We’ll also provide you with a year-round set of online resources so you can discover the work, its context and the composer’s creative mind.

To understand the present we also need to reference the past. Our new series at Kings Place – Turning Points – is a chance to hear, interact with and question the ideas of 20th century composers who have influenced the music being made today.

Andrew Burke, Chief Executive @ab2102

STEP 3

STEP 4

STEP 5

STEP 6

Book your tickets for an event then find all the resources you need online:

STEP 1 HOW TO: SET THE SCENE

STEP 2 HOW TO: BREAK THE ICE

STEP 3 HOW TO: LISTEN

Let our playlists immerse you in the music that inspired each composer and the sound worlds they’ve gone on to influence.

Their highs, their lows and their best music joke. Get to know the people behind the music in our quick-fire Q&As.

Audio-illustrated guides will steer you through the pieces, with examples of what to listen out for and (optional) homework.

STEP 6 HOW TO: DEBRIEF

STEP 5 HOW TO: GET BACKSTAGE

STEP 4 HOW TO: COMPOSE

Sit back, revel in what you’ve just heard and ask that burning question, at our post-concert conversations.

Head to our Instagram for behind-the-scenes snaps on concert nights.

Hear about the creative process from the composers themselves, or sneak a peek inside their sketchbook.

I’m actually preparing for each concert by reading and listening to music! How about that, huh? @NatGorohova

Great introduction – looking forward to this @Ldn_Sinfonietta! @HarrietWybor

@Ldn_Sinfonietta facebook.com/londonsinfonietta londonsinfonietta.wordpress.com youtube.com/londonsinfonietta/videos instagram.com/london.sinfonietta londonsinfonietta.org.uk

Across our 2015/16 season 93 early career musicians were professionally employed on stage or trained at our annual Academy

31 premieres and commissions came from a diverse range of composers

42,000 followers became part of our social media community

2,110 school children and families came to our dedicated concerts

27,740 miles travelled on tour

110,000 gamers improved their rhythm by playing our free Steve Reich's Clapping Music app

309,000 people heard us live or on the radio

THIS IS US

As a charity, we depend on our supporters to realise our ambitious programme of work – from concert halls to classrooms in Southampton to Singapore. We are incredibly grateful for the ongoing commitment, generosity and vision of our passionate community.

You too can play a vital role. Commission a work of your own for £500, partner a Principal Player for £1,000, or help us break new ground with digital projects as an Entrepreneur from £2,000 per year.

Help us to continue leading the way, sparking the greatest innovations and nurturing the best musical talent; find a way to get involved in the life of the London Sinfonietta that excites you.

OF OUR ANNUAL TURNOVER has to be earned from touring and box office or raised from businesses, trusts and individuals, in addition to the 33% invested in us by Arts Council England each year.

Fig. 1

WE’RE NEARLY 50 Wowed by @Ldn_Sinfonietta / Michel van der Aa’s Book of Disquiet tonight. Do absolutely anything to get a ticket for tomorrow. @leksi_p

Still thinking about last Thursday’s Enno Poppe concert with @Ldn_Sinfonietta.

Probably the best concert I’ve been to in a long time. @Benjamin_Ashby

WHAT DO YOU HEAR?

Tell us in a tweet: @Ldn_Sinfonietta Find us on Facebook: facebook.com/londonsinfonietta Tag us on Instagram: london.sinfonietta Comment on our blog: londonsinfonietta.wordpress.com Follow Jonathan Morton Principal Violin @jon_morton Andrew Burke Chief Executive @ab2102 (views expressed are personal, not those of the London Sinfonietta)

Morton Feldman’s For Samuel Beckett

The London Sinfonietta turns 50 in 2018 – was pretty sublime last night an extraordinary landmark for an ensemble @Ldn_Sinfonietta. @JordanHuntMusic which, in 1968, chose to rise to the challenge Stunning, magical and amazingly of championing living composers, helping unpredictable. Oh @Ldn_Sinfonietta you their music findit!itsSirius audience andparticularly place in smashed is shining contemporary culture. bright this evening. @geocham

Aa’sin which you We willReally stay enjoyed in touchMichel aboutvan theder ways The Book Of Disquiet last night can join the celebrations, and will announce more with @Ldn_Sinfonietta – incredibly information about our anniversary year in 2017. unique & totally compelling experience. @hugobell25

Ravishing, exquisite performances of Birtwistle’s The Corridor/The Cure this eve at @TheRoyalOpera 1968 -@Ldn_Sinfonietta 2018 Commemorating Bravi tutti! our past, @rchrdbkrmuso celebrating our birthday and looking to the

TAKE PART

Before celebrating our 50th anniversary through There’s something mind-cleansingly ritualistic about a few hundred the 2017/18 season, we want to gather a community ofispeople for whom this ensemble people sat in a church listening to @Ldn_Sinfonietta a #MortonFeldman. @AlexRothMusic national treasure! and its music have been an important part of @jakeperry_lwos life. If you have stories, photos or artefacts you can share with us, please write to us at London Sinfonietta, Kings Place, 90 York Way, London N1 9AG or email LS50@londonsinfonietta.org.uk.

future.

Across our 2015/16 season 93 early career musicians were professionally employed on stage or trained at our annual Academy

31 premieres and commissions came from a diverse range of composers

42,000 followers became part of our social media community

2,110 school children and families came to our dedicated concerts

27,740 miles travelled on tour

309,000 people heard us live or on the radio

110,000 gamers improved their rhythm by playing our free Steve Reich's Clapping Music app

NEW MUSIC

THIS IS US Fig. 1

As a charity, we depend on our supporters to realise our ambitious programme of work – from concert halls to classrooms in Southampton to Singapore. We are incredibly COMMISSIONS AND PREMIERES grateful for the ongoing commitment, generosity and vision of our passionate community.

“Unlike literature or a work of art, much classical music would written unless first commissioned. Whether You toonot canbeplay a vital role.

Commission the composer is a young emerging talentaor a recognised a work of your own for £500, partner master, being a part it from or thehelp beginning Principal Player for of £1,000, us to when the piece is premiered is a thrilling journey.” break new ground with digital projects as Robert McFarland, London Sinfonietta Entrepreneur

“From within the great red proscenium arch, the 22 piece chamber orchestra unfolded a an Entrepreneur from £2,000 per year. fascinating, elaborate, strikingly Highlights of the season include commissioning a new work original argument that made Help us to continue leading the way, sparking OF OUR ANNUAL TURNOVER has to be earned from

by Morgan Hayes and piccolo concerto from Simon Holt, me start to feel modern music the greatest innovations and nurturing thebybest office or raised from businesses, as well as world and UK premieres of music Salvatore touring and box had found a path after years of musical find a way toBeat getFurrer involved in addition to the 33% Sciarrino,talent; Daniela Terranova, and in Rolfthe Wallin. trusts and individuals, stylistic uncertainty.” life of the London Sinfonietta that excites you. invested in usThe

by Times Arts Council each year. on our England UK premiere For news about our commissions and how you can of Enno Poppe’s Speicher, 2016 support them visit londonsinfonietta.org.uk/newmusic

Fig. 1

WE’RE NEARLY 50 The London Sinfonietta turns 50 in 2018 – an extraordinary landmark for an ensemble which, in 1968, chose to rise to the challenge of championing living composers, helping their music find its audience and place in contemporary culture.

Before celebrating our 50th anniversary through the 2017/18 season, we want to gather a community of people for whom this ensemble and its music have been an important part of life. If you have stories, photos or artefacts you can share with us, please write to us at London Sinfonietta, Kings Place, 90 York Way, London N1 9AG or email LS50@londonsinfonietta.org.uk.

We will stay in touch about the ways in which you can join the celebrations, and will announce more information about our anniversary year in 2017.

1968 - 2018 Commemorating our past, celebrating our birthday and looking to the future.

“Joana Carneiro conducted the London Sinfonietta in a razor-sharp account of Van der Aa’s [The Book of Disquiet Disquiet]… it received a stunning UK premiere in the atmospheric Coronet Theatre.” ***** The Times, 2016

PRINCIPAL PLAYERS Michael Cox flute (supported by Michael & Patricia McLaren-Turner) Gareth Hulse oboe Mark van de Wiel clarinet (supported by Régis Cochefert) John Orford bassoon Simon Haram saxophone Michael Thompson horn (supported by Belinda Matthews) Alistair Mackie trumpet Byron Fulcher trombone Jonathan Morton violin 1 (supported by Paul & Sybella Zisman) Joan Atherton violin 2 (supported by Robert Clark & Susan Costello) Paul Silverthorne viola (supported by Nick & Claire Prettejohn) Tim Gill cello (supported by Sir Stephen Oliver QC) Enno Senft double bass (supported by Anthony Mackintosh) Helen Tunstall harp David Hockings percussion John Constable Emeritus Principal piano (supported by John Bird) Ian Dearden Sound Intermedia (supported by Penny Jonas) David Sheppard Sound Intermedia (supported by Penny Jonas)

Find out more about becoming a Principal Partner as a London Sinfonietta Lead Pioneer at londonsinfonietta.org.uk/lead-pioneer

EMERGING ARTISTS Through our Emerging Artist Programme, brilliant musicians at the start of promising careers are selected by our Principal Players and given professional opportunities alongside them on stage for up to two seasons. Over the last year, our Emerging Artists have been supported by the Mercers’ Company and the Harold Hyam Wingate Foundation.

Images: Eric Richmond photography

NEW MUSIC

SALVATORE SCIARRINO Fig. 2

Thursday 13 October 2016 at 7.30pm St John’s Smith Square £15 (+ concessions) (unreserved seating) Transaction fees apply (see back cover) Daniela Terranova Notturno in forma di rosa (2009) (UK premiere) Francesco Filidei Ballata No. 2 (2011) (UK premiere) THE REAL DEAL Each time Salvatore Sciarrino begins a new Salvatore Sciarrino Immagina il deserto (2016) composition, he finds himself “staring into a black (UK premiere) “Can theSalvatore fastidiousSciarrino Boulez ever his (1970) hole”, uncertain which way to turn. This teetering ... have da unconceived Divertimento music Luciano as an opportunity for performers to show Berio Folksong Suite (1964) sensation is what makes his music so compelling live, as we hover on the edge of the abyss with off? It seems unlikely, but the London Sinfonietta at it that the virtuosity of these Post-concert conversation “Ittimes was a itbrilliant display him. At is fragile andpiece sparse, at others is so skilled performances was their most striking feature.” for a new-music ensemble a frenzy of activity, all the while threatening to ***** Financial Times Anna Radziejewska mezzo soprano that really knowsNow its way collapse into silence. the elder statesman Marco Angius conductor around such dense and of Italian music, Sciarrino has just been awardedAt the core of the London Sinfonietta are 18 Principal London Sinfonietta potentially prickly music. The the Venice Biennale’s Golden Lion. He has pavedPlayers. They’ve broken bread with the most important London Sinfonietta certainly the waymade for athe new wave of emerging composers,composers of the late 20th8and 21st centuries, from Boulez On tour: Saturday October 2016, Venice Biennale most of it.” whose **** music paired here withUKthat of Lucianoto Messiaen, Stockhausen to Cage, and collectively hold an TheisGuardian on our Image: Sciarrino’s diagram for Immagina il deserto Berio –premiere the grandfather of the Italian avant-garde. (with permission Sacher Foundation) astonishing wealthofoftheunwritten knowledge. Whatever you of Enno Poppe’s hear them play, you can be sure they’re playing it how it Speicher, 2016 was meant to be heard.

STARING INTO THE BLACK HOLE

“Joana Carneiro conducted the London Sinfonietta in a razor-sharp account of Van der Aa’s [The Book of Disquiet Disquiet]… it received a stunning UK premiere in the atmospheric Coronet Theatre.” ***** The Times, 2016

NEW MUSIC

PRINCIPAL PLAYERS

Michael Cox flute (supported by Michael & Patricia McLaren-Turner) Gareth Hulse oboe Mark van de Wiel clarinet Fig. 3 (supported by Régis Cochefert) John Orford bassoon Simon Haram saxophone Michael Thompson horn (supported by Belinda Matthews) Alistair Mackie trumpet Byron Fulcher trombone Jonathan Morton violin 1 (supported by Paul & Sybella Zisman) Find out more about becoming a Principal Joan Atherton violin 2 Partner as a London Sinfonietta Lead Pioneer at (supported by Robert Clark & Susan Costello) londonsinfonietta.org.uk/lead-pioneer Paul Silverthorne viola (supported by Nick & Claire Prettejohn) Tim Gill cello EMERGING ARTISTS (supported

by Sir StephenTOURING Oliver QC) INTERNATIONAL Enno Senft double bass Through our Emerging Artist Programme, (supported

by Anthony Mackintosh) “It was an inspired performance, and how lucky it is brilliant musicians at the start of promising Helen harp for us Tunstall and our audiences to be able to listen to Music careers are selected by our Principal Players David for 18 Hockings Musicians percussion with such a stellar ensemble AND and given professional opportunities alongside John Emeritus Principal piano SteveConstable Reich himself.”

“Composer Reich andOver the them on stage for up toSteve two seasons. (supported JohnMusic Bird) Producer, Esplanade Singapore Sara JoanbyFang, London Sinfonietta mesmerised the last year, our Emerging Artists have been Ian Dearden Sound Intermedia with innovative rhythmic patterns the Mercers’ Company and The LondonbySinfonietta are ambassadors for British culture,supported by and (supported Penny Jonas) virtuosity.” the Harold Hyam Wingate Foundation.

David Intermedia giving Sheppard world-classSound performances of new music abroad.

The Straits Times on Music (supported Penny includes Jonas) tours to Venice Biennale in Images: Eric Richmondfor photography The comingbyseason 18 Musicians at Singapore October 2016, The Liszt Academy, Budapest in February Esplanade, 2016 2017 and Bergen International Festival in June 2017.

SALVATORE SCIARRINO Thursday 13 October 2016 at 7.30pm St John’s Smith Square £15 (+ concessions) (unreserved seating) Transaction fees apply (see back cover)

STARING INTO THE BLACK HOLE Each time Salvatore Sciarrino begins a new composition, he finds himself “staring into a black hole”, uncertain which way to turn. This teetering sensation is what makes his music so compelling live, as we hover on the edge of the abyss with him. At times it is fragile and sparse, at others a frenzy of activity, all the while threatening to collapse into silence. Now the elder statesman of Italian music, Sciarrino has just been awarded the Venice Biennale’s Golden Lion. He has paved the way for a new wave of emerging composers, whose music is paired here with that of Luciano Berio – the grandfather of the Italian avant-garde.

Daniela Terranova Notturno in forma di rosa (2009) (UK premiere) Francesco Filidei Ballata No. 2 (2011) (UK premiere) Salvatore Sciarrino Immagina il deserto (2016) (UK premiere) Salvatore Sciarrino ... da un Divertimento (1970) Luciano Berio Folksong Suite (1964) Post-concert conversation Anna Radziejewska mezzo soprano Marco Angius conductor London Sinfonietta On tour: Saturday 8 October 2016, Venice Biennale Image: Sciarrino’s diagram for Immagina il deserto (with permission of the Sacher Foundation)

TURNING POINTS: STOCKHAUSEN ALTERED SOUND In the first of a new series, we explore music history’s most remarkable turning points whilst giving you the chance to turn your understanding on its head. Starting with Karlheinz Stockhausen, one of the most innovative and controversial figures of the 20th century, an hour-long performance of two seminal works is presented from the stage. Explore the foyer spaces and you can meet our players at the bar, catch a film about the composer, or hear and try your hand at Mikrophonie I – Stockhausen’s piece for tamtam and microphones that makes perceptible those “objects usually beneath our notice”. Open up a world of altered sound you never knew existed.

Saturday 15 October 2016 at 7pm Kings Place £19.50 (+ £9.50 Online Savers) Transaction fees apply (see back cover) Pre and post-concert performances of Mikrophonie I (1964) Main stage performance of Gesang der Junglinge (1955-56) and Kontakte (1958-60), presented by Jonathan Cross Post-concert conversation with the players Owen Gunnell percussion Andrew Zolinsky piano Sound Intermedia co-producers Jonathan Cross presenter London Sinfonietta The Turning Points series is presented in collaboration with the Orchestra of the Age of Enlightenment and Kings Place

SUPPORT

CONNECT Fig. 4

THE AUDIENCE AS ARTIST

Saturday 22 OctoberWEDNESDAYS 2016 at 7.30pm WORLD PREMIERE

St John’s Square Sponsored

by LarkSmith Insurance £10 (+ concessions) (unreserved seating) CONNECT creates a dynamic new relationship “Spending one’s firstfees glimpse theback business Transaction apply of (see cover)day between composer, ensemble and audience. listening to a world premiere nine floors up in the the City mayticket seem£15 a strange accompaniment Two ground-breaking commissions have public heart ofConference first cup of coffee,and but Iconcert found it inspiring.” conference ticket £20 participation at their heart, giving audiences theto yourJoint opportunity to become part of the sound world Michael Spencer, Sound Strategies Christian Mason In the Midst of the Sonorous Islands both on stage and from their seats. A series Started(2016) in 2014, World Premiere Wednesdays are (world premiere) of public workshops have shaped the creative bi-monthly breakfast networking events. Over coffee, Huang Ruo The Sonic Great Wall (2016) process, and following world premieres in London, croissants andpremiere) contemporary music, people from (world the works will be shared by an international worlds as far apart as finance, science, technology, community with further performances in Porto, cultureLondon and government can form new relationships Sinfonietta Amsterdam and Frankfurt through autumn 2016.and get to know the London Sinfonietta.

Supported by ART MENTOR FOUNDATION LUCERNE in collaboration

The evening is preceded by a day-long with London Sinfonietta, Ensemble Modern, Asko|Schönberg and Remix If you’re interested joining us, get in touch Ensemble Casa da in Música conference exploring how new music can engage on support@londonsinfonietta.org.uk an ever-wider audience.

INSURANCE MADE TO MEASURE

TURNING POINTS: STOCKHAUSEN WORKING WITH SCHOOLS

“We always enjoy coming to the London Sinfonietta’s school concerts and it’s fantastic that they do so much to link them to the curriculum. It is such a great opportunity to be able to expose our pupils to this quality of music.”

Kelly Haines, St Mary’s & St Peter’s Church of England Primary School

Working closely with a cluster of partner schools we train Fig. 5 teachers and students in composition. Concerts for Primary Schools and Secondary Schools also take place in London and across the UK, examining minimalism, serialism and how composers make music today – often starting with a very simple creative idea.

Saturday 15 October 2016 at 7pm To find out more or to register your interest, email takepart@londonsinfonietta.org.uk or visit londonsinfonietta.org.uk/schools-concerts ALTERED SOUND

TAKE PART

In the first of a new series, we explore music history’s most remarkable turning points whilst giving you the chance to turn your understanding on its head. Starting with Karlheinz Stockhausen, one of the most innovative and controversial figures of the 20th century, an hour-long performance of two seminal works is presented from the stage. Explore the foyer spaces and you can meet our players at the bar, catch a film about the composer, or hear and try your hand at Mikrophonie I – Stockhausen’s piece for tamtam and microphones that makes perceptible those “objects usually beneath our notice”. Open up a world of altered sound you never knew existed.

Kings Place £19.50 (+ £9.50 Online Savers) Transaction fees apply (see back cover) Pre and post-concert performances of Mikrophonie I (1964) Main stage performance of Gesang der Junglinge (1955-56) and Kontakte (1958-60), presented by Jonathan Cross Post-concert conversation with the players Owen Gunnell percussion Andrew Zolinsky piano Sound Intermedia co-producers Jonathan Cross presenter London Sinfonietta The Turning Points series is presented in collaboration with the Orchestra of the Age of Enlightenment and Kings Place

CONNECT

THE AUDIENCE AS ARTIST CONNECT creates a dynamic new relationship between composer, ensemble and audience.

Two ground-breaking commissions have public participation at their heart, giving audiences the opportunity to become part of the sound world both on stage and from their seats. A series of public workshops have shaped the creative process, and following world premieres in London, the works will be shared by an international community with further performances in Porto, Amsterdam and Frankfurt through autumn 2016.

The evening is preceded by a day-long conference exploring how new music can engage an ever-wider audience.

Saturday 22 October 2016 at 7.30pm St John’s Smith Square £10 (+ concessions) (unreserved seating) Transaction fees apply (see back cover) Conference ticket £15 Joint conference and concert ticket £20 Christian Mason In the Midst of the Sonorous Islands (2016) (world premiere) Huang Ruo The Sonic Great Wall (2016) (world premiere) London Sinfonietta Supported by ART MENTOR FOUNDATION LUCERNE in collaboration with London Sinfonietta, Ensemble Modern, Asko|Schönberg and Remix Ensemble Casa da Música

Fig. 2

BEAT FURRER: FAMA Friday 11 November 2016 at 7.30pm St John’s Smith Square £20 (+ concessions) (unreserved seating) Transaction fees apply (see back cover)

THE DRAMA OF LISTENING When Beat Furrer’s FAMA was premiered in Germany in 2005 it was hailed as “a miracle” by Die Zeit. Now, after a decade of performances across Europe, this masterpiece of sound theatre finally arrives in the UK. Inspired by the novella Fräulein Else by Arthur Schnitzler, FAMA mirrors the story of a distressed young woman forced into prostitution in order to pay her father’s debts. But in Furrer’s music, nothing is as it first appears: linear time seems to dissolve and a momentary snapshot becomes the subject of an intense narrative, as Furrer gives audible expression to a series of shocking events.

Beat Furrer FAMA (2005) (UK premiere) Post-concert conversation Isabelle Menke actress Eva Furrer contrabass flute Beat Furrer conductor London Sinfonietta On tour: Sunday 20 November 2016, Huddersfield Contemporary Music Festival Supported by the Swiss Arts Council Pro Helvetia and the Swiss Cultural Fund UK

MIX: LONDON SINFONIETTA & MARIUS NESET

NEW MUSIC

“As powerful, skilful and idiomatically varied on stage as he is on record, Neset is a resounding talent.”

The Guardian

Fig. 6

Friday 18 November 2016 at 8pm LSO St Luke’s £25 (+ concessions) TOURING Transaction fees apply (see back cover)

Wunderkind saxophonist Marius Neset explodedUK on to the UK stage in 2010 when he performed at Ronnie Scott’s as part of his mentor Django “It’s hugely Snowmelt (2016) important for a venue like ours to keep pushing (world premiere of live performance) The partnership with London Sinfonietta Bates’ 50th birthday celebrations. Using a palettethe boundaries. of visceral instrumental sounds, his music mixesenabled us to create an entirely different event in a new conversation for a largely untapped audience. Feedback was the lyricism of his Scandinavian roots with the space Post-concert high-octane fury of Bates and Zappa. This first overwhelmingly positive.”

Marius Neset Quartet live performance of his new album (released Neil Bennison, Music Programme Manager, London Theatre Royal Sinfonietta & Royal Concert Hall Nottingham in autumn 2016) stretches the boundaries of contemporary jazz, demanding infectious energyWe’re Part dedicated taking newJazz music on tour around the of the to EFG London Festival 2016 and lightening virtuosity from nineteen London UK every season, and this year return to Turner Sims Sinfonietta players and a jazz quartet, with NesetSouthampton, On tour:Huddersfield Tuesday 22 November 2016, Contemporary Music Festival, at their helm.

Turner Sims Southampton Wiltshire Music Centre, Nottingham Concert Halls, Colston Hall in Bristol and Brighton Festival. We are also proud to perform twice as part of the Hull UK City of Culture 2017.

Fig. 2

NEW MUSIC

BEAT FURRER: FAMA

Fig. 7

Friday 11 November 2016 at 7.30pm St John’s Smith Square £20 (+ concessions) (unreserved seating) Transaction fees apply (see back cover)

THE DRAMA OF LISTENING ON RECORD

Beat Furrer FAMA (2005) (UK premiere)

“NMC delighted to beFAMA partnering with LondoninSinfonietta. Post-concert conversation WhenisBeat Furrer’s was premiered Together we can provide lasting as legacy to the innovative Germany in 2005 it wasa hailed “a miracle” by Sinfonietta Shorts commissioning releasing Isabelle Menke actress Die Zeit. Now, after a decade of programme, performances downloads that will be kept permanently available to an Eva Furrer contrabass flute across Europe, this masterpiece of sound theatre international audience.”

Beat Furrer conductor finally arrives in the UK. Inspired by the novella Anne Rushton, Executive Director, NMC Recordings London Sinfonietta

Fräulein Else by Arthur Schnitzler, FAMA mirrors the story of areleases distressed young woman forced Forthcoming include a collaboration with virtuoso On tour: Sunday 20 November 2016, into prostitution in order to pay her and father’s Norwegian saxophonist Marius Neset a digital album Huddersfield Contemporary Music Festival with NMC on Fridayis21asOctober debts.

ButRecordings in Furrer’sreleased music, nothing it first 2016, Supported by the Swiss Arts Council Pro Helvetia and the Swiss Cultural Fund UK compilinglinear all thetime Sinfonietta createdand to-date. appears: seemsShorts to dissolve a momentary snapshot becomes the subject of To see our releases visit an intense narrative, as Furrer gives audible londonsinfonietta.org.uk/recordings expression to a series of shocking events.

We’re also proud to be supported and broadcast by BBC Radio 3.

“As powerful, skilful and idiomatically varied on stage as he is on record, Neset is a resounding talent.”

The Guardian

MIX: LONDON SINFONIETTA & MARIUS NESET Wunderkind saxophonist Marius Neset exploded on to the UK stage in 2010 when he performed at Ronnie Scott’s as part of his mentor Django Bates’ 50th birthday celebrations. Using a palette of visceral instrumental sounds, his music mixes the lyricism of his Scandinavian roots with the high-octane fury of Bates and Zappa. This first live performance of his new album (released in autumn 2016) stretches the boundaries of contemporary jazz, demanding infectious energy and lightening virtuosity from nineteen London Sinfonietta players and a jazz quartet, with Neset at their helm.

Friday 18 November 2016 at 8pm LSO St Luke’s £25 (+ concessions) Transaction fees apply (see back cover) Snowmelt (2016) (world premiere of live performance) Post-concert conversation Marius Neset Quartet London Sinfonietta Part of the EFG London Jazz Festival 2016 On tour: Tuesday 22 November 2016, Turner Sims Southampton

“Four premieres filled a bristling London Sinfonietta concert at St John’s Smith Square. The reconfiguration of the stage and seating, so we sat in an arc round the players, benefited both acoustics and intimacy.” **** The Observer, 2016

HANS ABRAHAMSEN: SCHNEE JOURNEY INTO THE FROZEN WILDERNESS From the delicacy of a single snowflake, whispering as it falls from the sky, to vast, impenetrable snowdrifts – Hans Abrahamsen’s monumental artwork Schnee is an allencompassing experience. In this hour-long tour de force Abrahamsen uses a series of interlocking canons to create a magnificent and ethereal piece of musical architecture. The loneliness and quietude of this frozen landscape finds resonance in Simon Holt’s piccolo concerto – Fool is Hurt – a work inspired by the isolation of the central character in the Federico Fellini film La Strada.

Tuesday 6 December 2016 at 7.30pm St John’s Smith Square £15 (+ concessions) (unreserved seating) Transaction fees apply (see back cover) Morgan Hayes New Work (2016) (world premiere of a London Sinfonietta commission) Simon Holt Fool is Hurt (2015) (UK premiere of a London Sinfonietta co-commission) Hans Abrahamsen Schnee (2008) Post-concert conversation Michael Cox piccolo Thierry Fischer conductor London Sinfonietta Simon Holt’s work has been co-commissioned with the NOVA Ensemble and supported by the London Sinfonietta Pioneers

Fig. 3

THOMAS ADÈS: IN SEVEN DAYS

SCIENCE MEETS RELIGION Renowned for his unique way of making the familiar seem fresh and unknown, Thomas Adès may prove to be one of the most distinctive voices of the 21st century. His take on the biblical story of the Creation is typically idiosyncratic. “It’s not a sort of chaos”, he says, “but like a meteorite.

The story is as much scientific as it is religious.”

In Seven Days takes the complexity of the world as its starting point, pulling apart its intricate details before piecing it back together. The result is a kaleidoscopic work that is at once distinctive, eloquent and beautiful.

Wednesday 1 February 2017 at 7.30pm Royal Festival Hall, Southbank Centre £25 £20 £15 (+ concessions) Transaction fees apply (see back cover) Programme to include Thomas Adès In Seven Days (2008) Post-concert conversation Rolf Hind piano Royal Academy of Music Manson Ensemble side-by-side with London Sinfonietta Part of Southbank Centre’s Belief and Beyond Belief festival

ALTERNATIVE VISIONS

SHORT FILMS ADD A NEW DIMENSION TO BITE-SIZED PIECES OF THE BEST CONTEMPORARY MUSIC Sinfonietta Shorts are snapshots of music by the leading composers of our time, commissioned, recorded and released as downloads by the London Sinfonietta. Each work in this collection has inspired a short film, made by Central Saint Martins students in close collaboration with the composers and players. They will be premiered over an hour-long screening, accompanied live

by London Sinfonietta soloists.

More details announced in spring 2017 Performance Design and Practice students from Central Saint Martins London Sinfonietta A Blue Touch Paper project, in which we light the fuse of new work with different art forms in alternative spaces

TURNING POINTS: LIGETI

HIGHER EDUCATION PARTNERSHIPS

Fig. 8

“Collaborating with London Sinfonietta is one of the most inspiring and joyful experiences for our students. The possibilities for cross disciplinary expression are enormous: new forms of ideas are only found in such in-between spaces, and Performance Design and Practice students seek these out. The calibre of the performers and composers from London Sinfonietta allow them to truly go beyond what is expected.” Fred Meller, Course Leader BA Performance Design and Practice, Central Saint Martins This year our creative partnerships include:

ALTERED TIME

London College of Communication: capturing the life of the London Sinfonietta backstage with photojournalism students.

Saturday 25 March 2017 at 7pm Place RoyalKings Academy of Music: performing Thomas Adès’ £19.50 OnlineCentre, Savers)side-by-side In Seven Days (+ at £9.50 Southbank Transaction apply (see back cover) with their Mansonfees Ensemble.

TAKE PART

“I am in a prison”, György Ligeti once wrote.

“One wall is the avant-garde, the other wall is Southampton Pre-concert participation in Pòeme Symphonique University: co-hosting a PhD the past, and I want to escape.” The second (for 100 metronomes) (1962) studentship researching optical motion tracking event in this new series at Kings Place celebratesdevices Main stage performance of Artikulation (for tape) in live music performance.

(1958), 10 Pieces for Wind Quintet (1968) and one of the 20th century’s most progressive Central Saint Martins: Melodien (1971), performing presented bybite-sized Jonathan Cross minds. Ligeti found his escape plan – his of music with conversation films by students theplayers withonthe turning point – in a more spontaneous approach piecesPost-concert Performance Design and Practice course. to composition, using free-form drawings to Sound Intermedia co-producers express shape, colour and contour before Jonathan Cross presenter committing a single note to the page. From the London Sinfonietta compelling absurdity of Pòeme Symphonique for 100 metronomes to the glittering colours The Turning Points series is presented in collaboration of his Melodien, we explore Ligeti’s radical, with the Orchestra of the Age of Enlightenment and time-bending compositional methods.

Kings Place

NEW MUSIC

ALTERNATIVE VISIONS Fig. 9

DEVELOPING NEW DIGITAL WORK “Forget Angry Birds, or 2048. The latest star of a maddeningly addictive iPhone game is the composer Steve Reich.”

SHORT FILMS ADD A NEW DIMENSION New York Times

TO BITE-SIZED PIECES OF THE BEST CONTEMPORARY This season we dive into MUSIC the following digital adventures: Sinfonietta Shorts area snapshots music by the Make, Do and Bend: partnership of with arts development agency the hub bringing together and technologists leading composers of our time,artists commissioned, More details announced in spring 2017 at R&D days find new, as digital ways to engage recorded andtoreleased downloads by the wider audiences.

London Sinfonietta. Each work in this collection Performance Design and Practice students has inspired a short film, made by Central Saint from Central Saint Martins Into the Little Hill: working with UK agency Animate Martins students in close collaboration with the to create an animated film version of George Benjamin’s London Sinfonietta composers masterpiece.and players. They will be premiered over an hour-long screening, accompanied live A Blue Touch Paper project, in which we light the fuse of by London Sinfonietta new work with different art forms in alternative spaces Steve Reich’s Clappingsoloists.

Music app: downloaded over 110,000 times worldwide, we continue to run workshops for high scorers across the world.

TURNING POINTS: LIGETI ALTERED TIME “I am in a prison”, György Ligeti once wrote.

“One wall is the avant-garde, the other wall is the past, and I want to escape.” The second event in this new series at Kings Place celebrates one of the 20th century’s most progressive minds. Ligeti found his escape plan – his turning point – in a more spontaneous approach to composition, using free-form drawings to express shape, colour and contour before committing a single note to the page. From the compelling absurdity of Pòeme Symphonique for 100 metronomes to the glittering colours of his Melodien, we explore Ligeti’s radical, time-bending compositional methods.

Saturday 25 March 2017 at 7pm Kings Place £19.50 (+ £9.50 Online Savers) Transaction fees apply (see back cover) Pre-concert participation in Pòeme Symphonique (for 100 metronomes) (1962) Main stage performance of Artikulation (for tape) (1958), 10 Pieces for Wind Quintet (1968) and Melodien (1971), presented by Jonathan Cross Post-concert conversation with the players Sound Intermedia co-producers Jonathan Cross presenter London Sinfonietta The Turning Points series is presented in collaboration with the Orchestra of the Age of Enlightenment and Kings Place

“Astonishing” ***** The Telegraph

“Extraordinary” **** The Guardian

MICA LEVI: UNDER THE SKIN FILM SCREENING WITH LIVE ORCHESTRA Jonathan Glazer’s 2014 film Under the Skin impressed the critics with its uncomfortable portrayal of an otherworldly predator, for which Mica Levi’s beautiful, elemental and skewed music provided the intoxicating soundtrack.

London Sinfonietta collaborated with Levi and her band Micachu and the Shapes in 2010 on Chopped and Screwed, the album that inspired Glazer to ask Levi to write this film score. It has since catapulted her to international fame and earned a BAFTA nomination. With strains of Ligeti and Cage running through its hazy mix of digitally-processed and live sound, Levi’s microtonal world is captivating – veering between sensuality and disquiet to compelling effect.

Tuesday 4 April 2017 at 7.30pm Royal Festival Hall, Southbank Centre £20 £20 £15 (+ concessions) Transaction fees apply (see back cover) Mica Levi Under the Skin (2014) Post-concert conversation Geoffrey Paterson conductor London Sinfonietta Part of Southbank Centre’s Film Scores Live festival Suitable for persons aged 15 or older Contains nudity and infrequent explicit sex On tour: Friday 31 March 2017, Hull University Southbank Centre performance supported by Lark Insurance

GEORG FRIEDRICH HAAS: IN VAIN

SUPPORT

“The London Sinfonietta were often flying blind, yet their performance was grippingly urgent, and glowingly beautiful.”

The Telegraph on our UK premiere of in vain, 2013

Fig. 10

TRUST YOUR EARS AND RELINQUISH YOUR SIGHT Premiered in 2000 and receiving its first, sold outCONNECT THROUGH YOUR COMPANY UK performance from the London Sinfonietta in Thursday 27 April 2017 at 7.30pm 2013, this is your second chance to hear Georg“We areRoyal Festival Southbank Centre year delighted to be Hall, commencing the second Friedrich Haas’ in vain. Written in protest to the of our £20 £20journey £15 (+with concessions) musical London Sinfonietta. We Transaction fees friends apply (see cover) rise of the far-right Freedom Party in the 1999 have made many new andback valuable relationships, Austrian elections, in vain hints at a heightened and given our clients some inspiring memories.

GeorgSinfonietta Friedrich creates Haas inbold vainnew (2000) music and sensory world where dark, unnatural forces are The London at work. As familiar harmonies meet microtonal performs it with individuality and style. It is therefore Post-concert conversation systems, Haas evokes an otherworldly realm a compelling brand for Lark to be associated with.”

Foster, Managing Director, Lark Private Clients that oscillates between the past and the present,David Brad Lubman conductor between clarity and dystopia. Performed partly inAlign your London brandSinfonietta with a forward-thinking arts organisation complete darkness, in vain transforms the concert renowned worldwide for its excellence. hall into a mysterious new landscape, where you Part of Southbank Centre’s must trust your ears and relinquish your sight. Get in Belief Beyond creating Belief festival touch and to discuss a partnership tailored to you and your organisation on support@londonsinfonietta.org.uk

“Astonishing” ***** The Telegraph

“Extraordinary” **** The Guardian

SUPPORT

MICA LEVI: UNDER THE SKIN Fig. 11

FILM SCREENING WITH LIVE ORCHESTRA ENTREPRENEURS

Tuesday 4 April 2017 at 7.30pm Royal Festival Hall, Southbank Centre £20 £20 £15 (+ concessions) Transaction fees apply (see back cover)

Jonathan Glazer’s 2014sense film of Under the Skin Mica Levi Under the Skin (2014) “We all struggle to make our lives, the society impressed the critics with its uncomfortable around us and the world at large. Artists have their views: portrayal anless otherworldly predator, composersofno than any others shine for theirwhich light for us. Post-concert conversation Mica Levi’s elemental and skewed It is up to usbeautiful, to help them in this daunting but crucial task.

Geoffrey Paterson conductor music provided theI am intoxicating soundtrack.

As an Entrepreneur able to work closely with the London Sinfonietta London Sinfonietta help them create London Sinfoniettatocollaborated withambitious, Levi and ground-breaking art that would otherwise not exist.” her band Micachu and the Shapes in 2010 on Anthony and Mackintosh, Sinfonietta Entrepreneur Part of Southbank Centre’s Film Scores Live festival Chopped Screwed,London Screwed the album that inspired Suitable for persons aged 15 or older Glazer to ask Levi to write this film score. It Contains nudity and infrequent explicit sex Innovate with us: become an Entrepreneur.

We’re seeking has since catapulted her to international fame ambitious individuals, businesses and syndicates to help and earned a BAFTA nomination. With strains us initiate inspirational projects across the organisation, On tour: Friday 31 March 2017, Hull University ofin Ligeti and Cage running through its hazy mix the lead up to our 50th anniversary in 2018. Entrepreneur Southbank Centre performance supported by Lark Insurance ofmembership digitally-processed and livepayable sound,over Levi’s starts at £10,000 a maximum microtonal is captivating of five yearsworld (i.e. £2,000 per year).– veering between sensuality and disquiet to compelling effect.

To find out more email support@londonsinfonietta.org.uk or visit londonsinfonietta.org.uk/entrepreneurs

“The London Sinfonietta were often flying blind, yet their performance was grippingly urgent, and glowingly beautiful.”

The Telegraph on our UK premiere of in vain, 2013

GEORG FRIEDRICH HAAS: IN VAIN TRUST YOUR EARS AND RELINQUISH YOUR SIGHT Premiered in 2000 and receiving its first, sold out UK performance from the London Sinfonietta in 2013, this is your second chance to hear Georg Friedrich Haas’ in vain. Written in protest to the rise of the far-right Freedom Party in the 1999 Austrian elections, in vain hints at a heightened sensory world where dark, unnatural forces are at work. As familiar harmonies meet microtonal systems, Haas evokes an otherworldly realm that oscillates between the past and the present, between clarity and dystopia. Performed partly in complete darkness, in vain transforms the concert hall into a mysterious new landscape, where you must trust your ears and relinquish your sight.

Thursday 27 April 2017 at 7.30pm Royal Festival Hall, Southbank Centre £20 £20 £15 (+ concessions) Transaction fees apply (see back cover) Georg Friedrich Haas in vain (2000) Post-concert conversation Brad Lubman conductor London Sinfonietta Part of Southbank Centre’s Belief and Beyond Belief festival

AVANT-CELLO Saturday 6 May 2017 at 7.30pm Kings Place £39.50 £29.50 £24.50 £19.50 (+ £9.50 Online Savers) Transaction fees apply (see back cover)

CONTEMPORARY CELLO UNWRAPPED With its sonorous bass tones and piercing high register, the cello has fascinated composers for generations. As part of the Cello Unwrapped series at Kings Place, our Principal Cellist Tim Gill presents a survey of the styles and sounds of contemporary cello repertoire though the 20th and 21st centuries. From the mesmeric spiritualism of Messiaen and Pärt, through the concise pointillism of Webern, to the athletic virtuosity of Xenakis’ Kottos – “rough, harsh and full of noise” – this programme probes the cello’s many different characters, and the voices it has found in the contemporary music landscape.

Anton Webern 3 Kleine Stücke (1914) Olivier Messiaen Louange à l’Éternité de Jésus (1941) Hans Werner Henze Serenade (1949) Arvo Pärt Fratres (1977) Jonathan Harvey Ricercare una melodia (1984) Iannis Xenakis Kottos (1977) Thomas Adès Les eaux (mvt 1 from Lieux retrouvés) (2009) Anna Clyne Paint Box (2006) Sir Harrison Birtwistle Wie Eine Fuga (mvt 4 from Bogenstrich) (2006-9) Post-concert conversation Tim Gill cello Rolf Hind piano Sound Intermedia sound projection Part of Kings Place’s Cello Unwrapped 2017 series

Fig. 4

SUPPORT

NORDIC NIGHTS Fig. 12

Tuesday 6 June 2017 at 7.30pm

St John’s Smith Square PIONEERS

£15 (+ concessions) (unreserved seating) Transaction fees applymusic (see back cover)as long as “I’ve been interested in new for about the London Sinfonietta has existed. Getting involved in Programme to include commissioning seemed a bit of a leap, but with their Once the preserve of melancholic films and bareprojects Eivind Buene New Work sure (2016) premiere) you can be reasonably of (UK finding something tonal landscapes, in recent years Scandinavian interesting Kaijaand Saariaho GraalAtthéâtre worthwhile. a time(1994) when much artists have revealed another side to their vibrantprogramming Rolf Wallin New (2016) (UK seems to Work lack ambition andpremiere) adventure the heritage – one that is rich in life and colour.

London Sinfonietta really stands out as having both, so Post-concert conversation Part of Southbank Centre’s 2017 celebrations it is important that they get support, and the Pioneers of Nordic culture, this concert showcases the scheme gives an opportunity to experience the rewards of Peter Herresthal violin participating at modest cost or whatever you can manage.” best of contemporary music from Kaija Saariaho’s GuroLondon Kleven Sinfonietta Hagen violinCreative Pioneer Ian Baker, enigmatic violin concerto, which revels in the Eivind Holtsmark Ringstad viola delicate interactions between violin and orchestra, Kian Soltani cello Share your passion as a new music Pioneer. Enjoy a close to a new commission from Rolf Wallin – a Pierre-André relationship with the Valade London conductor Sinfonietta, whilst helping us composer whose fascination with nature and achieveLondon Sinfonietta our ambitions from just £35 per year – less than the human body manifests itself in shimmering £3 per month. harmonies and transparent orchestral textures.

On tour: Friday 2 June 2017, Bergen International Festival To find out more email support@londonsinfonietta.org.uk or visit londonsinfonietta.org.uk/support

DISCOVERING SCANDINAVIA’S HIDDEN COLOURS

AVANT-CELLO CURIOUS? 16-25 SCHEME

“Initiatives such as the Curious? scheme are extremely important for the future of classical music. The £5 tickets available from the London Sinfonietta give young people the opportunity to experience new things without worrying about the cost.”

Emma Halnan, Curious? member

Saturday 6 May 2017 at 7.30pm Are you aged 16-25? Join the London Sinfonietta’s Curious?Kings Place Fig. 13 scheme and experience new music with open ears. You’ll £39.50 £29.50 £24.50 £19.50 get £5 tickets to our events, access to our offer of the (+ £9.50 Online Savers) month and we’ll keep you up to date in our Curious?

Transaction fees apply (see back cover) e-newsletter.

Sign up for free at londonsinfonietta.org.uk/curious?

CONTEMPORARY CELLO UNWRAPPED

TAKE PART

With its sonorous bass tones and piercing high register, the cello has fascinated composers for generations. As part of the Cello Unwrapped series at Kings Place, our Principal Cellist Tim Gill presents a survey of the styles and sounds of contemporary cello repertoire though the 20th and 21st centuries. From the mesmeric spiritualism of Messiaen and Pärt, through the concise pointillism of Webern, to the athletic virtuosity of Xenakis’ Kottos – “rough, harsh and full of noise” – this programme probes the cello’s many different characters, and the voices it has found in the contemporary music landscape.

Anton Webern 3 Kleine Stücke (1914) Olivier Messiaen Louange à l’Éternité de Jésus (1941) Hans Werner Henze Serenade (1949) Arvo Pärt Fratres (1977) Jonathan Harvey Ricercare una melodia (1984) Iannis Xenakis Kottos (1977) Thomas Adès Les eaux (mvt 1 from Lieux retrouvés) (2009) Anna Clyne Paint (2006) “The Box seating at St John’s Smith Sir Harrison Birtwistle Square wasWie notEine the Fuga usual rectangular (mvt 4 from Bogenstrich) formation, (2006-9) but a welcome tilting of that configuration by 90 degrees to Post-concertcreate conversation an amphitheatre effect. The gain in atmosphere was immediately Tim Gill cello apparent, and the sizeable, young, Rolf Hind piano keen audience warmed it, too…

Sound Intermedia sound as projection As hypnotic it was vitalising.”

The Sunday Times on our Part of Kings Place’s Cello Unwrapped series performance of Morton2017 Feldman’s For Samuel Beckett, 2015

Fig. 4

NORDIC NIGHTS DISCOVERING SCANDINAVIA’S HIDDEN COLOURS Once the preserve of melancholic films and bare tonal landscapes, in recent years Scandinavian artists have revealed another side to their vibrant heritage – one that is rich in life and colour.

Part of Southbank Centre’s 2017 celebrations of Nordic culture, this concert showcases the best of contemporary music from Kaija Saariaho’s enigmatic violin concerto, which revels in the delicate interactions between violin and orchestra, to a new commission from Rolf Wallin – a composer whose fascination with nature and the human body manifests itself in shimmering harmonies and transparent orchestral textures.

Tuesday 6 June 2017 at 7.30pm St John’s Smith Square £15 (+ concessions) (unreserved seating) Transaction fees apply (see back cover) Programme to include Eivind Buene New Work (2016) (UK premiere) Kaija Saariaho Graal théâtre (1994) Rolf Wallin New Work (2016) (UK premiere) Post-concert conversation Peter Herresthal violin Guro Kleven Hagen violin Eivind Holtsmark Ringstad viola Kian Soltani cello Pierre-André Valade conductor London Sinfonietta On tour: Friday 2 June 2017, Bergen International Festival

“A brilliant, extreme work that grips like a vice and won’t let go” The Guardian on our world premiere of Illusions, 2015

PHILIP VENABLES: ILLUSIONS Weekend of Saturday 1 July 2017 Venue in Hull to be announced Free Weekend of Saturday 8 July 2017 Royal Festival Hall, Southbank Centre Free Philip Venables Illusions (2015) (world premiere of reworked version)

NOTHING YOU BELIEVE IS TRUE “Democracy is an illusion; gender is an illusion.”

This anarchic ‘party political broadcast’ takes an unforgiving view of modern society, first performed two days after the 2015 General Election and now reworked for the New Music Biennial 2017. Tackling themes of power, greed, emotion and sexuality, Philip Venables’ brash musical style combines with David Hoyle’s vibrant, direct and uncompromising video art to startling effect.

David Hoyle performance artist on video London Sinfonietta A Blue Touch Paper project, in which we light the fuse of new work with different art forms in alternative spaces Illusions is part of PRS for Music Foundation’s New Music Biennial which is run in partnership with Hull UK City of Culture, BBC Radio 3, Southbank Centre and supported by Paul Hamlyn Foundation, Arts Council England, Arts Council of Wales, Creative Scotland, The John S Cohen Foundation, the Jerwood Charitable Foundation, The Finzi Trust, RVW Trust, The Bliss Trust and NMC Recordings

MUSICIANS OF TOMORROW

YOUNG COMPOSERS

“London Sinfonietta gave me the opportunity to develop work outside of normal concert models and supported me from the inception of my idea to the performances.

As an early-career composer, it was a valuable opportunity to create a large-scale work and collaborate with experienced professionals on the staging, lighting and direction. This was such an incredibly fulfilling project.”

Samantha Fernando, early career composer

Fig. 14 HOW TO COMPOSE FOR THE 21ST CENTURY

We will launch the next phase of our Writing the Future scheme in 2017, recruiting a cohort of composers and creators who will develop original work for concert, site-specific and digital platforms.

To find out more visit londonsinfonietta.org.uk/writing-the-future

After an extraordinary week of exploration “The London Sinfonietta and discovery alongside our Principal Players, juxtaposed short stories with the young musicians of our 2017 London music by Samantha Fernando, an Sinfonietta Academy present the fruits of early career composer with an their labours: a visceral ear for stillness and performance subtext. We of the best contemporary showing settled in for anmusic, experience as just how much cosy the next generation has to offer. as Book at Bedtime.” **** The Times, 2016

July 2017 More details announced in spring 2017 London Sinfonietta Academy players

TAKE PART

LONDON SINFONIETTA ACADEMY FINAL PERFORMANCE

“A brilliant, extreme work that grips like a vice and won’t let go” The Guardian on our world premiere of Illusions, 2015

PHILIP VENABLES: ILLUSIONS YOUNG MUSICIANS

“I found the London Sinfonietta Academy a really invaluable experience and it was the starting point of a working relationship with the ensemble that remains central to my career. The opportunity for emerging young musicians to work alongside professional performers is essential, not only in terms of raising their aspirations as performers, but also the impact that this approach has on their musical and performance skills.”

Fig. 15 2011 London Sinfonietta Academy participant Weekend of Saturday 1 July 2017 An unparalleled opportunity for emerging performers and Venue in Hull to be announced HOW TO conductors to train with the world’s leading contemporary Free PLAY IN THE 21ST CENTURY music ensemble, the ninth edition of the London Sinfonietta Academy will take place in July 2017.

Weekend of Saturday 8 July 2017

Royal Festival Hall, Southbank Centre To find out more email Free academy@londonsinfonietta.org.uk or visit londonsinfonietta.org.uk/london-sinfonietta-academy Philip Venables Illusions (2015) (world premiere of reworked version) The London Sinfonietta Academy 2017 is generously supported by Help Musicians UK

NOTHING YOU BELIEVE IS TRUE

TAKE PART

“Democracy is an illusion; gender is an illusion.”

This anarchic ‘party political broadcast’ takes an unforgiving view of modern society, first performed two days after the 2015 General Election and now reworked for the New Music Biennial 2017. Tackling themes of power, greed, emotion and sexuality, Philip Venables’ brash musical style combines with David Hoyle’s vibrant, direct and uncompromising video art to startling effect.

David Hoyle performance artist on video London Sinfonietta A Blue Touch Paper project, in which we light the fuse of new work with different art forms in alternative spaces Illusions is part of PRS for Music Foundation’s New Music Biennial which is run in partnership with Hull UK City of Culture, BBC Radio 3, Southbank Centre and supported by Paul Hamlyn Foundation, Arts Council England, Arts Council of Wales, Creative Scotland, The John S Cohen Foundation, the Jerwood Charitable Foundation, The Finzi Trust, RVW Trust, The Bliss Trust and NMC Recordings

MUSICIANS OF TOMORROW

LONDON SINFONIETTA ACADEMY FINAL PERFORMANCE After an extraordinary week of exploration and discovery alongside our Principal Players, the young musicians of our 2017 London Sinfonietta Academy present the fruits of their labours: a visceral performance of the best contemporary music, showing just how much the next generation has to offer.

July 2017 More details announced in spring 2017 London Sinfonietta Academy players

SUPPORTERS LONDON SINFONIETTA WOULD LIKE TO THANK THE FOLLOWING ORGANISATIONS AND INDIVIDUALS FOR THEIR SUPPORT:

TRUSTS AND FOUNDATIONS Art Mentor Foundation Lucerne Arts Council England The Barbara Whatmore Charitable Trust British Council The Britten-Pears Foundation Cockayne - Grants for the Arts The D’Oyly Carte Charitable Trust The Embassy of the Kingdom of the Netherlands The Embassy of Portugal in the UK The Fenton Arts Trust The Garrick Charitable Trust Harold Hyam Wingate Foundation Help Musicians UK Hinrichsen Foundation The Leverhulme Trust The London Community Foundation The Mercers’ Company The Nugee Foundation Performing Arts Fund NL PRS for Music Foundation The RVW Trust The Swiss Arts Council Pro Helvetia Swiss Cultural Fund UK

CORPORATE PARTNERS Lark Insurance

ENTREPRENEURS Sir Vernon Ellis Annabel Graham Paul Penny Jonas1 Anthony Mackintosh2 Robert McFarland Michael & Patricia McLaren-Turner3 Sir Stephen Oliver QC4 Matthew Pike Nick & Claire Prettejohn5 Paul & Sybella Zisman6 The London Sinfonietta Council LEAD PIONEERS John Bird7 Robert Clark & Susan Costello8 Régis Cochefert9 Trevor Cook Susan Grollet in memory of Mark Grollet Anthony Mackintosh Belinda Matthews10 Antonia Till PRINCIPAL PLAYER PARTNERS Ian Dearden & David Sheppard Sound Intermedia 2 Enno Senft double bass 3 Michael Cox flute 4 Tim Gill cello 5 Paul Silverthorne viola 6 Jonathan Morton violin 7 John Constable Emeritus Principal piano 8 Joan Atherton violin 2 9 Mark van de Wiel clarinet 10 Michael Thompson horn 1

ARTISTIC PIONEERS Professor Barry Ife Walter A. Marlowe Julie Nicholls Simon Osborne David & Jenni Wake-Walker Margarita Wood

CREATIVE PIONEERS Ian Baker Ariane Bankes Andrew Burke Jeremy & Yvonne Clarke Rachel Coldicutt Anton Cox Dennis Davis Patrick Hall Nicholas Hodgson Andrew Hunt Frank & Linda Jeffs Philip Meaden Stephen Morris Alana Petraske Ruth Rattenbury Frances Spalding Iain Stewart Barry Tennison Mark Thomas Fenella Warden Estela Welldon Jane Williams Stephen Williamson Plus those generous Lead, Artistic and Creative Pioneers who prefer to remain anonymous, as well as our loyal group of Pioneers.

HONORARY PATRONS John Bird Sir Harrison Birtwistle Alfred Brendel KBE COUNCIL Paul Zisman chairman Andrew Burke RĂŠgis Cochefert Ian Dearden Richard Lewis Jones Alistair Mackie Belinda Matthews Jonathan Morton Matthew Pike Sally Taylor Keith Motson secretary

STAFF Andrew Burke Chief Executive Keith Motson General Manager Elizabeth Davies Head of Finance Natalie Marchant Concerts & Projects Manager Grace Ko Concerts & Touring Administrator Ed Marsh Participation & Learning Manager Claire Cosgrave Head of Development Strategy Max Heanue Development Assistant Amy Forshaw Marketing Manager Siân Bateman Marketing Officer Sean Watson Administration and Recordings Officer Anastasia Megally Cassar Surrey University Placement Trainee FREELANCE AND CONSULTANT STAFF Hal Hutchison Concert Manager Lesley Wynne Orchestra Personnel Manager Barbara Palczynski Projects Consultant Tony Simpson Lighting Designer Maija Handover for sounduk Public Relations London Sinfonietta is grateful to its accountants Martin Greene Ravden LLP and its auditors MGR Audit Limited.

CONTACT US @Ldn_Sinfonietta facebook.com/londonsinfonietta londonsinfonietta.wordpress.com youtube.com/londonsinfonietta/videos instagram.com/london.sinfonietta londonsinfonietta.org.uk London Sinfonietta, Kings Place, 90 York Way, London N1 9AG info@londonsinfonietta.org.uk T 020 7239 9340 F 020 7239 9369 Sinfonietta Productions Ltd Registered in England No. 926551 Registered Charity No. 255095

2016/17 EVENTS SALVATORE SCIARRINO Saturday 8 October 2016, Venice Biennale Thursday 13 October 2016, St John’s Smith Square TURNING POINTS: STOCKHAUSEN Saturday 15 October 2016, Kings Place CONNECT Saturday 22 October 2016, St John’s Smith Square BEAT FURRER: FAMA Friday 11 November 2016, St John’s Smith Square Sunday 20 November 2016, Huddersfield Contemporary Music Festival MIX: LONDON SINFONIETTA & MARIUS NESET Friday 18 November 2016, LSO St Luke’s Tuesday 22 November 2016, Turner Sims Southampton

TURNING POINTS: LIGETI Saturday 25 March 2017, Kings Place MICA LEVI: UNDER THE SKIN Friday 31 March 2017, Hull University Tuesday 4 April 2017, Royal Festival Hall More dates to be announced GEORG FRIEDRICH HAAS: IN VAIN Thursday 27 April 2017, Royal Festival Hall AVANT-CELLO Saturday 6 May 2017, Kings Place NORDIC NIGHTS Friday 2 June 2017, Bergen International Festival Tuesday 6 June 2017, St John’s Smith Square

HANS ABRAHAMSEN: SCHNEE Tuesday 6 December 2016, St John’s Smith Square

PHILIP VENABLES: ILLUSIONS Weekend of Saturday 1 July 2017, Hull Weekend of Saturday 8 July 2017, Royal Festival Hall

THOMAS ADÈS: IN SEVEN DAYS Wednesday 1 February 2017, Royal Festival Hall

MUSICIANS OF TOMORROW July 2017

ALTERNATIVE VISIONS Details announced in spring 2017

BOOKING INFORMATION SOUTHBANK CENTRE You can book for our events at Southbank Centre and St John’s Smith Square through Southbank Centre’s Ticket Office: 0207 960 4200 / southbankcentre.co.uk No transaction fees for Southbank Centre Members or Supporters Circles, or in-person bookings Online bookings: £1.75 Phone bookings: £2.75 £5 tickets for 16-25 year olds are available for all our Southbank Centre events

KINGS PLACE 020 7520 1490 / kingsplace.co.uk Ticket prices listed are discounted online rates Please add £2 for in-person or phone bookings LSO ST LUKE’S 020 7638 8891 / barbican.org.uk No transaction fees for in-person bookings Online bookings: £3 Phone bookings: £4 INTERNATIONAL AND UK TOURING Tickets can be booked through the venues All information was correct at time of going to press.

The London Sinfonietta reserves the right to make changes where necessary.

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