2021/22 SEASON CONCERT PROGRAMME
MUSICIANS OF TOMORROW Thursday 14 July 2022, 7.30pm Grand Junction
MUSICIANS OF TOMORROW Thursday 14 July 2022, 7.30pm Grand Junction Harrison Birtwistle Cantus Iambeus (2004) Tom Coult Rainbow-Shooting Cloud Contraption (2013) Param Vir Constellations (2010) Tania León Indígena (1991) Interval Barbara Kolb Yet That Things Go Round (1987) Steven Gerber Elegy on the Name "Dmitri Shostakovich" (1991) Simon Holt an icicle of moon (2014) Augusta Read Thomas Sun Dance (2020) Geoffrey Paterson conductor London Sinfonietta Academy London Sinfonietta The London Sinfonietta is grateful to Arts Council England for its generous support of the ensemble, as well as the many other individuals, trusts and businesses who enable us to realise our ambitions. This concert is produced by the London Sinfonietta. The work of the London Sinfonietta is supported by the John Ellerman Foundation and the London Sinfonietta Academy 2022 is generously supported by The Barbara Whatmore Charitable Trust, The Fidelio Charitable Trust, The Steven R. Gerber Trust, The Harold Hyam Wingate Foundation, The Leche Trust, The D’Oyly Carte Charitable Trust, Aspinwall Educational Trust, Helen Rachael Mackaness Charitable Trust, The Boris Karloff Charitable Foundation, The Thistle Trust, assisted by a grant from the Lord and Lady Lurgan Trust, and with the friendly support of the Ernst von Siemens Music Foundation. Did you enjoy this concert? Let us know by filling in this short survey:
WELCOME Welcome to the Musicians of Tomorrow concert – the culmination of our 13th annual London Sinfonietta Academy. It’s one of the high points of our year – and perfectly placed at the end of the season to feel like a true celebration of the year, and a demonstration of one of the most important things the London Sinfonietta has always stood for. Every year our London Sinfonietta players and all the office staff are amazed at the technical abilities of the visiting young musicians – so many congratulations to them all in what they have achieved this year on this course. I hope that the opportunity will have inspired you for the future. And, after the years we have run this project, we can now say with confidence that we know the impact it has had. Several of the young musicians who have taken part have gone on to form their own ensembles exploring new music, and several too we have seen back with the London Sinfonietta in fully professional work as part of our season – both as players and conductors. We also trust that every musician will have had a positive time, and that engaging with contemporary music will have built their musical and professional confidence, and helped establish their network of musical friends and colleagues for the future. Building on this success, the London Sinfonietta Academy's future is to reach out further into the education establishments of the UK to find ever more young musicians who aspire to engage with the music of today. We have plans to coach a wider and more diverse group of musicians towards applying for future courses and find ways to support them all in the skills and insights that will help them engage with music written by living composers. We are hugely grateful to all those who fund this project. It would not happen without the trusts, foundations and individual donors who underwrite the effort. Your support makes a real difference. Andrew Burke Chief Executive and Artistic Director
TONIGHT’S PLAYERS Helen Keen flute Fiona Sweeney* flute/piccolo/alto flute Hannah Gillingham* piccolo Gareth Hulse† oboe Isabella Pincombe* oboe/cor anglais Michael Whight clarinet Robbie Marrs* clarinet/bass clarinet Simon Estell bassoon Patrick Bolton* bassoon/contrabassoon Timothy Ellis french horn Alexander Boukikov* french horn Christian Barraclough trumpet Holly Clark* trumpet Katy Jones trombone James Parkinson* trombone Darragh Morgan violin Tiago Filipe Soares Silva* violin Clara Biss violin Ryo Koyama* violin Paul Silverthorne† viola Carys Barnes* viola Lionel Handy cello Abigail Lorimer* cello Markus van Horn double bass Ketan Curtis* double bass Elizabeth Burley piano Ekaterina Grabova* piano Kizzy Brooks percussion Matt Brett* percussion Connor Chambers* percussion Heather Brooks* harp ADDITIONAL COURSE MENTORS Mark van de Wiel† clarinet mentor John Orford bassoon mentor Michael Thompson french horn mentor John Constable piano mentor David Hockings† percussion mentor Helen Tunstall† harp mentor *London Sinfonietta Academy Participants †London Sinfonietta Principal Players
WHAT WE DO NEW MUSIC FOR NEW AUDIENCES The London Sinfonietta always strives to extend its reach to more people with the inspiring sound of new music. This season we are encouraging everyone to Take Your Place back with us in our live and online work. It's a season with a lot of new work - 24 commissions and world premieres - as well as events which celebrate powerful pieces from our past repertoire. The new work includes music from different genres - from contemporary classical to jazz and experimental - and collaborations with different art forms including video, animation, theatre and literature. We will also be releasing new monthly content on our London Sinfonietta Digital Channel including a regular series of performance films, videos about new music and podcasts.
"It helped me realise anyone can be a composer – even a pupil!" Pupil response to Sound Out 2019
MUSIC IN SCHOOLS AND THE COMMUNITY The London Sinfonietta was the first ensemble in the UK to launch a dedicated music education programme. This pioneering spirit has continued and flourished ever since, expanding to include regular performances and workshops with members of the public. One such project includes Sound Out, which facilitates groups of young people to enter the fascinating world of new music and learn more about how to compose, putting it into practice by interacting with London Sinfonietta musicians who seek to encourage and inspire the next generation of creative artists. During the lockdowns of 2020 and 2021, we developed the programme to work online with a new set of video Composition Challenges. Schools from around the UK have taken part, extending our reach to 12,000 young people.
LONDON SINFONIETTA CHANNEL Experience the best of the London Sinfonietta streamed directly to your device from the London Sinfonietta Channel.
DEVELOPING TALENT The London Sinfonietta supports emerging talent with its year-round programmes for composers, conductors and performers, giving early-career artists the opportunity to develop new skills and contacts as they establish themselves in the professional arena. Our composer development scheme, Writing the Future, seeks to create new pieces of music that expand the chamber music format, and is open to music creators from all cultural and musical backgrounds who are passionate about their art form and would like the opportunity to apply that experience to writing for a contemporary music ensemble. The London Sinfonietta Academy provides side-by-side coaching and performance opportunities to young musicians, culminating in a concert showcase. Find out more and apply online at londonsinfonietta.org.uk/academy
"It’s been very stimulating and I’ve got so much out of it. It’s a privilege to play next to London Sinfonietta players." Academy Participant July 2019
This season we’re bringing you monthly releases of new performance films, celebrating landmark works from the 20th and 21st century, including Tōru Takemitsu’s Rain Coming, Tania León’s Toque, Mica Levi’s Greezy and Steve Reich’s Violin Phase. For podcast lovers, Yet Unheard explores the experiences of black composers, hosted by Jumoké Fashola. Find out more at londonsinfonietta.org.uk/channel
LONDON SINFONIETTA ACADEMY
The London Sinfonietta Academy is an unparalleled opportunity for emerging instrumentalists to explore, rehearse and perform new music alongside our musicians. It is the foremost training scheme of its kind in the UK, focussing solely on the expert playing of contemporary repertoire. Since 2009, more than 250 young musicians have participated in the London Sinfonietta Academy, and many of them have become freelance players with the London Sinfonietta and members of other major UK and international ensembles. The London Sinfonietta Academy is aimed at young musicians who are committed to longterm instrumental career development and have an interest in contemporary classical music. Participants have the opportunity to explore the seminal 20th Century repertoire for which the London Sinfonietta is renowned along with new works and recent commissions.
Opportunities include learning from and performing alongside our musicians, attending rehearsals and concerts of new commissions and taking part in performance and participation opportunities to open up contemporary classical music to new audiences. The summer course in July 2022 has formed the culmination of the project with intensive days of rehearsal and small group coaching leading to this public performance. The course is offered for free to participants thanks to the generous support of our donors. "Sitting side-by-side with professional players who are so experienced definitely taught me the essential skills of working with orchestras." London Sinfonietta Academy Participant 2021 "The course opened my eyes to the unique approach needed for rehearsing and performing contemporary music." London Sinfonietta Academy Participant 2021
PROGRAMME NOTES
HARRISON BIRTWISTLE
CANTUS IAMBEUS
Harrison Birtwistle was born in Accrington in 1934 and studied clarinet and composition at the Royal Manchester College of Music. In 1960 he sold his clarinets to devote his efforts to composition, and travelled to Princeton as a Harkness Fellow where he completed the opera Punch and Judy. This work, along with Verses for Ensembles and The Triumph of Time, established Birtwistle as a leading voice in British music.
Cantus Iambeus (2004) might at first appear to be a latter-day continuation of the famous Carmen Arcadiae Mechanicae Perpetuum of 1977–78 with almost identical instrumentation, (the Carmen for an ensemble of fourteen players and the Cantus for thirteen) and comparable duration. But even at a first hearing, every detail of the music makes it clear how much Birtwistle’s style has evolved. The different layers of the texture are much more refined and more buoyant and use richer registers. They interact with less extreme contrasts. At the same time they are completely unified by the use of iambic rhythm, acknowledged by Birtwistle in the invented Latin word in the title. They are unified, moreover, in a single, linear form, with the tempo gradually slowing from the chord clusters at the beginning to the single interval at the end.
The decade from 1973 to 1984 was dominated by his monumental lyric tragedy The Mask of Orpheus, and by the remarkable ensemble scores: Secret Theatre, Silbury Air, Carmen Arcadiae Mechanicae Perpetuum and agm. The music of Birtwistle has attracted international conductors. He has received commissions from leading performing organizations, and his music has been featured in major festivals and concert series in Europe, the USA and Japan. Birtwistle has received many honours including the 1986 Grawemeyer Award, the Chévalier des Arts et des Lettres (1986), a British knighthood (1988), the Siemens Prize (1995) and the Wihuri Sibelius prize for music (2015). He was made Companion of Honour in 2001. Recordings of his music are available on the Decca, Deutsche Grammophon, Teldec, Signum, NMC, CPO and ECM labels.
© Stephan Meier, BCMG
TOM COULT Tom Coult is a composer born in London in 1988. His playful and seductive music has been championed by many of the UK’s major orchestras and ensembles, and in 2021 he was made Composer-in-Association with the BBC Philharmonic Orchestra. His first opera, Violet, with text by Alice Birch, was premiered in 2022 at the Aldeburgh Festival and on tour, to rave reviews. It was described by The Telegraph as ‘the best new British opera in years’, and is already being staged in a second production at Theater Ulm, Germany, later this year. His large-scale pieces have included Pleasure Garden, a concerto for violinist Daniel Pioro and the BBC Philharmonic (soon to be revived with the London Philharmonic Orchestra), Beautiful Caged Thing for soprano Claire Booth and the Mahler Chamber Orchestra, and St John’s Dance (premiered by Edward Gardner and the BBC Symphony Orchestra to open the First Night of the 2017 BBC Proms). He has enjoyed further associations with ensembles such as Britten Sinfonia and London Sinfonietta (who premiered Spirit of the Staircase, nominated for a South Bank Sky Arts Award), and in 2022 will be Composer-inResidence at Switzerland’s Musikdorf Ernen Festival.
RAINBOW-SHOOTING CLOUD CONTRAPTION Rainbow-Shooting Cloud Contraption has had rather a tangled history. During 2013, I was working on an orchestral piece inspired by Luigi Serafini’s Codex Seraphinianus – a gloriously eccentric encyclopaedia of imaginary animals, landscapes, buildings, fauna and inventions. I had heard a first draft of this orchestral piece performed, and wasn’t satisfied with it – the first four minutes in particular. While thinking about how to turn this draft into a finished piece, I attended the composers course at Aldeburgh, and used my time there to re-work material from those opening minutes, giving it a new profile and shape (but for 15 instruments rather than 80). This re-thinking of the material then got incorporated back into the orchestral piece, making Rainbow-Shooting Cloud Contraption a sort of reverse-engineered prequel to the larger piece. The piece’s title comes from one of Luigi Serafini’s inventions from the Codex Seraphinianus – in the chapter on machines, Serafini displays a cloud fitted with wheels and helicopter blades that shoots rainbows out of colourful gun turrets at its rear, forming rainbows wherever it flies. © Tom Coult
CONSTELLATIONS Ritornello - The MILKY WAY ORION – Jewel of the Night The PLOUGH – Tilling the Field PEGASUS – Dancing Horse
PARAM VIR An award-winning composer of opera and instrumental works, Param Vir’s music fuses Western tradition and Eastern aesthetics. Born in Delhi, he grew up in a household suffused with the sounds of Indian classical music and began composition lessons at the age of 14. In 1983 he moved to England to pursue his studies with Peter Maxwell Davies at Dartington and later with Oliver Knussen at the Guildhall School of Music and Drama. He has a particular affinity for dramatic genres and amongst his most performed works are the operatic double bill Snatched by the Gods and Broken Strings, commissioned by Henze for the Munich Biennale, and the full length opera Ion which premiered at the Aldeburgh Festival. Among his concert works, Horse Tooth White Rock, The Theatre of Magical Beings and Hayagriva each draw their inspiration from ancient mythologies, while the vast orchestral canvas of Between Earth and Sky evokes the disorientating beauty of the sculpture of Anish Kapoor. Recent works include a muchacclaimed BBC Proms commission Cave of Luminous Mind and Raga Fields for sarod and large ensemble commissioned and toured by BCMG, Fulcrum Point New Music Projects (Chicago) and Klangforum Wien (Vienna). NMC released a portrait CD ‘Wheeling Past the Stars’ in 2021. Future plans include a major new opera for Theater Bonn.
I have always been struck by intergalactic constellations. There is something moving and joyful about their stillness whilst they seem to dance, forming patterns as they criss-cross the night canvas - some staying constant against a moving choreography of unique alignments. The direct inspiration for this work is the vast canopy of the Milky Way, a constant presence against which other constellations radiate their light. In Constellations, the Milky Way appears repeatedly, a Ritornello played by the entire ensemble. This twinkling portrait frames the more soloistic individual star alignments of Orion, the Plough and Pegasus. For each, there is a defining character, my interpretation of its energy. Orion is self-explanatory, a light-emitting assembly of brilliant moments. The Plough tills the fields of Consciousness – a phrase from Tibetan saint Milarepa who tills the field to become enlightened. Pegasus is a fast dance, with similar fragments in different registers to create a chaotic. imitative fugue. Each constellation is formed of fragments of melody, harmony and texture, and the players respond to each other spontaneously to trigger their fragments in no specific order. The conductor is not aware which fragments will come next. In this aleatoric scramble, what keeps the music coherent? Each constellation has a static and non-developmental harmony. Thus no matter what aggregation of fragments the players might choose, the end result is always harmonic. Your ears might traverse the miniature harmonies of these constellations, just as your eyes might gaze in awe at the vast treasures of the night sky. © Param Vir, London 2022
TANIA LEÓN
Tania León (b. Havana, Cuba) is highly regarded as a composer, conductor, educator and advisor to arts organizations. Her orchestral work Stride, commissioned by the New York Philharmonic, was awarded the 2021 Pulitzer Prize in Music. Recent commissions include works for Los Angeles Philharmonic, NDR Symphony Orchestra, Grossman Ensemble, International Contemporary Ensemble, and pianist Ursula Oppens with Cassatt String Quartet. Appearances as guest conductor include Orchestre Philharmonique de Marseille, Gewandhausorchester, Orquesta Sinfonica de Guanajuato, and Orquesta Sinfónica de Cuba. Upcoming premieres feature commissions for the NewMusic USA Amplifying Voices Program, The Musical Fund Society in Philadelphia to celebrate their 200th anniversary, and The Crossing chamber choir with Claire Chase, flutist, among others. A founding member of the Dance Theatre of Harlem, León instituted the Brooklyn Philharmonic Community Concert Series, co-founded the American Composers Orchestra’s Sonidos de las Américas Festivals, was New Music Advisor to the New York Philharmonic, and is the founder/Artistic Director of Composers Now, a presenting, commissioning and advocacy organization for living composers.
INDÍGENA Tania León's heritage comes to the fore in Indígena (1991), commissioned by Town Hall for the Solisti Chamber Orchestra of New York. It opens with a series of rhapsodic, cadenza-like woodwind flourishes (each answered by a burst of percussion) that lead into a motoric, interlocking, polyrhythmic groove. In this dissonant context, a sudden turn to a static Gmajor triad is breathtaking, and it announces what is essentially Indígena's Carnival scene. Now León conjures up a comparsa, the group of masked revelers who roam the streets during carnival season. “In the comparsa, there’s always a winner, and the king of the comparsa is the trumpeter. You might hear that a comparsa is approaching, because you hear the trumpet from a great distance, and then you hear the polyrhythms getting closer and closer.” In Indígena, the trumpet stands and delivers several bold and brilliant solos, each of which prompts a response from the rest of the instruments, the comparsa’s “chorus". Only once does the trumpet quote an authentic comparsa melody, “La Jardinia", which is echoed by the ensemble. A frenzied outburst of revelry ensues. © K Robert Schwarz, New World Records
BARBARA KOLB Born in Connecticut, Barbara Kolb attended the Hartt School of Music of the University of Hartford, where she received her B.M. (cum laude) and M.M. degrees. She has been the recipient of many awards, including three Tanglewood Fellowships, four MacDowell Colony Fellowships, and two Guggenheim Fellowships. Ms. Kolb became the first American woman to receive the Rome Prize (1969-71) in music composition. She was also awarded a Fulbright Scholarship for a year of study in Vienna. Kolb's music is characterized by interwoven, impressionistic textures and a freely atonal yet deeply expressive harmonic language. Many of her works have drawn upon ideas and images having their sources in literature or the visual arts.
YET THAT THINGS GO ROUND Barbara Kolb's Yet That Things Go Round was written in 1987 and premiered in New York by the 92nd Street Y Ensemble, conducted by Gerard Schwarz. The piece lasts approximately 14 minutes.
STEVEN R. GERBER Steven R. Gerber was born on September 28, 1948 in Washington, D.C. He held degrees from Haverford College and from Princeton University, where he received a 4-year fellowship. Steven's music composition teachers include Robert Parris, J. K. Randall, Earl Kim, and Milton Babbitt. His early works were in a free atonal style, incorporating serial and non-twelve-tone languages into a distinctive and deeply personal sound world. During his years as a graduate student at Princeton and throughout the 1970's, he wrote a number of stunning compositions, such as the a cappella choral works Dylan Thomas Settings and Illuminations (Rimbaud). Beginning in the early 1980s, his music became much more tonal while still retaining the expressive elements of the his earlier works Steven's music gained international attention as a result of recorded CD releases featuring several of his major works for orchestra as well as concertos.
ELEGY ON THE NAME "DMITRI SHOSTAKOVICH" Steven R. Gerber's Elegy on the Name "Dmitri Shostakovich" was written in 1991, and Gerber himself since remarked that it is his mostperformed piece. There is also a version for viola. The melody of the piece is based on a row of notes which spell out S-H-S-T(i)-A; D-M(i)-T(i), which can clearly be heard in the first bar of the piece. The piece ends with the four-note motif which Shostakovich used as his own musical signature, using the German names of notes to spell out D-Es-C-H (D-E flat-C-B).
SIMON HOLT
AN ICICLE OF MOON
Simon Holt is a composer whose music demands unusual commitment from his interpreters - his intricate sound-worlds often comprise complex, rich textures, offset by ‘still centres’ - for the purpose of making music which speaks with extraordinary power.
The title an icicle of moon is a phrase from the great poem of Garcia Lorca, Romance Somnámbulo: ‘Un carámbano de luna la sostiene sobre el agua’ (An icicle of moon suspends her above the water). Scored for a small, essentially classical orchestra, the piece lasts about 6½ minutes.
He was born in Bolton, Lancashire on 21 February, 1958. He immersed himself in playing the organ and piano as well as visual art during his sixth form years at Bolton School. In 1976, he attended Bolton College of Art for a year where he fulfilled a foundation course in all areas of visual representation. Shortly before achieving a diploma in composition from the Royal Northern College of Music, where he studied with Anthony Gilbert from 1978 to 1982, he received a commission from the London Sinfonietta, which became Kites (1983). He was soon firmly established with a series of commissions and fruitful collaborations not only with the Sinfonietta, but also with the Nash Ensemble and the Birmingham Contemporary Music Group, resulting in pieces such as eco-pavan (1998), Sparrow Night (1989) and Lilith (1990) respectively. Inspired by Messiaen, Xenakis and Feldman as well as visual artists such as Goya, Giacometti and Brâncusi, his music is innately dramatic and impulsive in nature. His output is diverse, consisting of chamber music, concertos, songs, opera, orchestral and piano music.
AUGUSTA READ THOMAS
SUN DANCE
The music of Augusta Read Thomas (b. 1964 in New York) is nuanced, majestic, elegant, capricious, lyrical, and colorful — "it is boldly considered music that celebrates the sound of the instruments and reaffirms the vitality of orchestral music" (Philadelphia Inquirer).
Music for me is an embrace of the world – a way to open myself up to being alive in my body, in my sounds, and in my mind. I believe music feeds our souls. Unbreakable is the power of art to build community. Humanity has and will always work together to further music’s diverse capacity and innate power. The magnificence of massed musical orchestral resources is humbling, inspiring, and exemplifies solidarity and teamwork.
Featured on a Grammy winning CD by Chanticleer and Pulitzer Prize finalist, Thomas’ impressive body of works “embodies unbridled passion and fierce poetry” (American Academy of Arts and Letters). The New Yorker magazine called her "a true virtuoso composer." Championed by such luminaries as Barenboim, Rostropovich, Boulez, Eschenbach, Salonen, Maazel, Ozawa, and Knussen, the American Academy of Arts and Letters described Thomas as “one of the most recognizable and widely loved figures in American Music." She is a University Professor of Composition in Music and the College at The University of Chicago. Thomas was the longest-serving Mead Composer-in-Residence with the Chicago Symphony Orchestra for conductors Daniel Barenboim and Pierre Boulez (1997-2006). This residency culminated in the premiere of Astral Canticle, one of two finalists for the 2007 Pulitzer Prize in Music. During her residency, Thomas not only premiered nine commissioned orchestral works, but was also central in establishing the thriving MusicNOW series, through which she commissioned and programmed the work of many living composers.
I care about craft, clarity, and passion. My works are organic and, at every level, concerned with transformations and connections. The carefully sculpted musical materials of Sun Dance— In memoriam Oliver Knussen are agile and energized, and their flexibility allows the braiding of harmonic, rhythmic, and contrapuntal elements that are constantly transformed — at times whimsical and light, at times jazzy, at times layered and reverberating. Sun Dance unfolds a labyrinth of musical interrelationships and connections that showcase a virtuosic display of rhythmic agility, counterpoint, skill, energy, dynamic range, clarity, and majesty. Throughout the kaleidoscopic journey, the work passes through many lively episodes with sparkling intensity. Vivid and blazing, Sun Dance culminates in music of enthusiastic spirit celebrating dance, caprice, and effervescence. Sun Dance— In memoriam Oliver Knussen was originally designed to precede Beethoven's “Pastoral” Sixth Symphony but it could proceed or follow any music by any composer.
GEOFFREY PATERSON conductor British conductor Geoffrey Paterson is admired for his impressive grasp of detail, responsiveness to musicians, and his ability to shape and make music from the most complex scores with natural authority. Highlights of Paterson’s 2021/22 season include his Frankfurt Opera debut with Britten A Midsummer Night’s Dream in a new production by Brigitte Fassbaender, and his Japanese debut conducting Nagoya Philharmonic in a programme of Boulanger, Ravel, a new work by Tomoki Sakata and Rachmaninoff: Symphony No.3. He conducts the Danish National Symphony Orchestra in their Pulsar contemporary music festival, and the world premiere of a dramatic song cycle by Cheryl Frances Hoad with the City of London Sinfonia. Paterson also conducts return engagements with the BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, Norwegian Radio Orchestra, Hamburg Symphony Orchestra, BBC National Orchestra of Wales, Red Note Ensemble and the London Sinfonietta, with whom he has a regular ongoing collaboration. Paterson studied at Cambridge University where he also took composition lessons with Alexander Goehr followed by studies at the Royal Scottish Academy of Music and Drama.
LONDON SINFONIETTA The London Sinfonietta is one of the world’s leading contemporary music ensembles. Formed in 1968, our commitment to making new music has seen us commission over 450 works and premiere many hundreds more. Our ethos today is to experiment constantly with the art form, working with the best composers and performers and collaborating with artists from alternative disciplines. We challenge perceptions, provoke new possibilities and stretch our audiences’ imaginations, often working closely with them as performers and curators of the events we stage. Resident at Southbank Centre and Artistic Associate at Kings Place, with a busy touring schedule, the London Sinfonietta’s core 18 Principal Players are some of the finest musicians in the world. As well as our commitment to reaching new audiences with world-class performances of new music, the organisation holds a leading position in education work. We believe that arts participation is transformational to individuals and communities, and that new music is relevant to all our lives. These values are enacted through primary and secondary school concerts across the UK, interactive family events, and the annual London Sinfonietta Academy; an unparalleled opportunity for young performers and conductors to train with us. We have also broken new ground by launching a new digital Channel, featuring video programmes and podcasts about new music. Our Steve Reich’s Clapping Music App for iPhone, iPad and iPod Touch, a participatory rhythm game that has been downloaded over 500,000 times worldwide and is still inspiring users in places as far away as China and Japan. Adding to a significant back-catalogue of recordings dating back over 50 years, recent recordings include Ryan Latimer's NMC Debut Disc Antiarkie (NMC; 2021), Josep Maria Guix's Images of Broken Light (Neu Records; 2020), and Marius Neset’s Viaduct (ACT; 2019).
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CURRENT SUPPORTERS London Sinfonietta would like to thank the following organisations and individuals for their support: TRUSTS AND FOUNDATIONS Art Mentor Foundation Lucerne, Aspinwall Educational Trust, Barbara Whatmore Charitable Trust, Boltini Trust, Boris Karloff Charitable Foundation, Britten Pears Foundation (now Britten Pears Arts), Cockayne Grants for the Arts, The D'Oyly Carte Charitable Trust, Ernst von Siemens Music Foundation, Fenton Arts Trust, The Fidelio Charitable Trust, Garfield Weston Foundation, Golsoncott Foundation, The Harold Hyam Wingate Foundation, Helen Rachael Mackaness Charitable Trust, Hinrichsen Foundation, Hodge Foundation, Jerwood Arts, John Ellerman Foundation, The Leche Trust, Leverhulme Trust, The Lord and Lady Lurgan Trust, Lucille Graham Trust, The Marchus Trust, Michael Tippett Musical Foundation, Michael Watson Charitable Trust, The Nugee Foundation, PRS for Music Foundation, Rainbow Dickinson Trust, Royal Philharmonic Society, RVW Trust, Stanley Thomas Johnson Foundation, Steven R. Gerber Trust, Summerfield Charitable Trust, The Thistle Trust, UK Antarctic Heritage Trust HONORARY PATRONS David Atherton OBE John Bird Sir Harrison Birtwistle Alfred Brendel KBE Gillian Moore MBE Nicholas Snowman OBE ENTREPRENEURS Mark & Grace Benson Sir Vernon Ellis Annabel Graham Paul Penny Jonas Anthony Mackintosh Robert McFarland Michael & Patricia McLaren-Turner Stephen & Dawn Oliver Matthew Pike Nick & Claire Prettejohn
Paul & Sybella Zisman The London Sinfonietta Council SINFONIETTA CIRCLE Andrew Burke Susan Costello Dennis Davis Regis Gautier-Cochefert Susan Grollet John Hodgson Charlotte Morgan Diane V. Silverthorne Andy Spiceley Fiona Thompson Paul & Sybella Zisman ARTISTIC PIONEERS Sharon Ament Anton Cox Nicholas Hodgson Philip Meaden Simon Osborne CREATIVE PIONEERS Ian Baker Ariane Bankes Frances Bryant Andrew Burke Jeremy & Yvonne Clarke Dennis Davis Richard & Carole Fries John Goodier Patrick Hall Chris Heathcote Simon Heilbron Andrew Hunt Frank & Linda Jeffs Walter A. Marlowe Belinda Matthews Stephen Morris Andrew Nash Julie Nicholls Richard Price Malcolm Reddihough Iain Stewart Susan Sturrock Mark Thomas Fenella Warden Jane Williams Plus those generous Lead, Artistic and Creative Pioneers who prefer to remain anonymous, as well as our loyal group of Pioneers.
PRINCIPAL PLAYERS Michael Cox flute (supported by Michael and Patricia McLarenTurner) Gareth Hulse oboe (supported by John Hodgson) Mark van de Wiel clarinet (supported by Regis Gautier-Cochefert) Simon Haram saxophone Byron Fulcher trombone Jonathan Morton first violin (supported by Paul and Sybella Zisman) 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 (supported by Charlotte Morgan) David Hockings percussion (supported by Andy Spiceley) GUEST PLAYERS IN THE 21/22 SEASON Daniel Shao flute Philippa Davies flute Sirius Chau flute Oliver Roberts flute Sarah O'Flynn flute/alto flute Harry Winstanley flute/alto flute Karen Jones piccolo/flute/alto flute Helen Keen piccolo/flute/alto flute Chris O'Neal oboe Bernice Lee oboe Rachel Harwood-White oboe Melinda Maxwell oboe/cor anglais Andrew Webster clarinet Jordan Black clarinet Heather Roche clarinet Michael Whight clarinet Timothy Lines clarinet/bass clarinet Katie Lockhart clarinet/bass clarinet Katy Ayling clarinet/bass clarinet Duncan Gould contrabass clarinet Amy Green baritone saxophone Sarah Burnett bassoon Emily Hultmark bassoon Elizabeth Trigg bassoon Lois Au bassoon Joshua Wilson bassoon Robyn Blair horn
Zoe Tweed horn Roger Montgomery horn George Strivens horn Timothy Ellis horn Jason Evans trumpet Erika Curbelo trumpet Bruce Nockles trumpet Ryan Linham trumpet Aaron Azunda Akugbo trumpet Christian Barraclough trumpet/ flugel horn Ryan Hume trombone Ruth Molins trombone Jonathan Riches tuba Joe Richards percussion Alex Neal percussion Oliver Lowe percussion Jess Wood percussion Louise Goodwin percussion George Barton percussion Owen Gunnell percussion Huw Davies electric guitar Elizabeth Burley piano Siwan Rhys piano Rolf Hind piano/keyboard Philip Moore piano/keyboard/celeste Clíodna Shanahan piano/keyboard celeste Alexandra Wood violin Elizabeth Wexler violin Fiona McCapra violin Philippa Mo violin Tom Aldren violin Takane Funatsu violin Clara Biss violin Thomas Rowan-Young violin Hilaryjane Parker violin Rebecca Dinning violin Alice Barron violin Judith Choi-Castro violin Hatty Haynes violin Edward Bale violin Olivia Jago violin Eloise MacDonald violin Jaqueline Shave violin Simon Blendis violin Stephen Bryant violin Ellie Fagg violin Thomas Gould violin Róisín Walters violin Sophie Mather violin Anastasia Stahlmann violin
Joe Ichinose viola Katie Wilkinson viola Zoe Matthews viola James Heron viola Anna Growns viola Fiona Winning viola Sally Pendlebury cello Juliet Welchman cello Cecilia Bignall cello Ben Michaels cello Lionel Handy cello Louise McMonagle cello Meera Raja cello Adrian Bradbury cello Joely Koos cello Tamaki Sugimoto cello Markus van Horn double bass Tom Goodman double bass Adam Wynter double bass Katy Furmanski double bass Daniel Molloy double bass David Johnson double bass LONDON SINFONIETTA ACADEMY 2022 Fiona Sweeney flute Hannah Gillingham flute Isabella Pincombe oboe Robbie Morris clarinet Patrick Bolton bassoon Alexander Boukikov horn Holly Clark trumpet James Parkinson trombone Matt Brett percussion Heather Brooks harp Ekaterina Grabova piano Tiago Filipe Soares Silva violin Ryo Koyama violin Carys Barnes viola Abigail Lorimier cello Ketan Curtis double bass EMERITUS PRINCIPAL PLAYERS Joan Atherton Emeritus Principal Second Violin John Orford Emeritus Principal Bassoon John Constable Emeritus Principal Piano Michael Thompson Emeritus Principal Horn LONDON SINFONIETTA COUNCIL Fiona Thompson chair
Sud Basu Andrew Burke Tim Gill (principal player) Annabel Graham Paul Kathryn Knight Charlotte Morgan Jonathan Morton (principal player) Paul Silverthorne (principal player) James Thomas Ben Weston LONDON SINFONIETTA STAFF Andrew Burke Chief Executive & Artistic Director Frances Bryant General Manager Elizabeth Davies Head of Finance Volker Schirp Financial Assistant Natalie Marchant Head of Concerts & Production (maternity leave) Madeleine Ridout Event Producer Caitlin Lobo Professional Placement Trainee Lily Caunt Head of Participation & Learning Rhuti Carr Head of Participation & Learning (maternity leave) Aoife Allen Participation & Learning Producer Phoebe Walsh Marketing Manager Eleanor Killner Development & Events Assistant Adam Flynn Digital Productions Manager AMBASSADORS Penny Jonas Anthony Mackintosh Robert McFarland Belinda Matthews Philip Meaden Sir Stephen Oliver QC FREELANCE & CONSULTANT STAFF Hal Hutchison Concert Manager Lesley Wynne Orchestra Personnel Manager Tony Simpson Lighting Designer WildKat PR The London SInfonietta is grateful to its auditors and accountants MGR Weston Kay LLP
UPCOMING EVENTS
XENAKIS: ARCHITECT OF SOUND An exploration of Xenakis' elemental and futuristic soundworld in his centenary year Sat 8 Oct, Queen Elizabeth Hall PENDERECKI: A RETROSPECTIVE Celebrating the Polish composer's 70-year, genre-spanning career Thu 3 Nov, Royal Festival Hall SLEEPING PATTERNS A hypnotic and mesmerising new work from Lithuanian composer Juste Janulyte Fri 2 Dec, Queen Elizabeth Hall
For full details and to book visit londonsinfonietta.org.uk or southbankcentre.co.uk Find us on social media: @Ldn_Sinfonietta @london.sinfonietta LondonSinfonietta LondonSinfonietta