Connect: The Audience as Artist by London Sinfonietta

SPRING 2019 londonsinfonietta.org.uk #NewMusicNow

CONNECT: THE AUDIENCE AS ARTIST

Saturday 16 March 2019 4pm, Southbank Centre’s Queen Elizabeth Hall

Oscar Bianchi Orango* (UK Premiere) Tansy Davies Undertow Michael Nyman In C Interlude* Trish Clowes A walk in the park – or so they say (World Premiere)** Jonathan Stockhammer conductor* Patrick Bailey conductor** Zoë Martlew presenter Tony Simpson lighting designer Young Musicians from Enfield, Haringey and Waltham Forest Music Services 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. With the friendly support of

WELCOME Thanks for joining us for this event, which celebrates the creative partnership between the London Sinfonietta, schools and members of our audience.

Welcome to Southbank Centre. We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance.

Music created today is a compelling thing to listen to – inspiring, thought-provoking, provocative, uplifting – sometimes challenging. It becomes ever more personal and relevant when anyone composes it or performs it. All the music in today’s event is designed to include musicians of all ages and abilities, exploring the idea of music and sound in that act of cocreation and performance.

Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Spiritland, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location.

This event is an example of the purpose of the London Sinfonietta – to engage and support the growth of people and communities as they are creating and performing music. Alongside this, we create world-class new work to develop the art-form, inspiring audiences of all ages across the UK and around the world, and develop talent in early career composers and musicians that supports the sector. We are hugely grateful to the funders who make this part of our work happen – not least the Art Mentor Foundation Lucerne who underwrite Connect: The Audience as Artist, and the funders of our Sound Out project. And to the Arts Council (and those who play the National Lottery), whose investment in us enables us to secure extra support, produce more activity and have impact on many more people. Thanks for joining us today, and we hope the range of music and ideas you experience will inspire your own creativity and passion to participate. Andrew Burke Chief Executive & Artistic Director

Explore across the site with Foyles, EAT, Giraffe, Strada, Wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, Ping Pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Southbank Centre

OSCAR BIANCHI

Born in Milan, holding dual Italian-Swiss citizenships, Oscar Bianchi completed degrees in composition, choir conducting and electronic music at the Giuseppe Verdi conservatory of Milan. He pursued studies in composition taking part in master programs at IRCAM – Centre Pompidou and with a doctoral degree at Columbia University in New York. Vitality, pulsing rhythms, and virtuosity are the hallmarks of the music created by Bianchi, who reveals a sensible interest in new phrasings and new ornamentations, something to be expected from someone whose ears are finely attuned to music from all corners of the globe. A vocal quality, even in his instrumental work, can strike us as a prominent feature of his music. Exuberant and intelligent, this vocal dimension plays with a refined art of accentuations in all its intermediate degrees. Increasingly interested in cantata and opera: Bianchi’s music continues to be guided by the challenge of dramaturgical and formal issues. The unexpected contrasts between voluble virtuosity and contemplative stasis are the driving force of his flair for dramatic gesture. His music is joyfully violent in breath and in song but may suddenly come to rest in prayer, via a specific harmony, as though struck by the noonday light. Commissioned by the Aix-en-Provence Festival and Théâtre & Musique, his first opera, Thanks to My Eyes, libretto and direction by Joël Pommerat, received critical acclaim by audiences and critics alike. His music has been performed by outstanding ensembles and orchestras such as Gewandhaus Leipzig, Orchestre Philharmonique

de Radio France, Deutsche Symphonie Orchester, Ensemble Modern, Klangforum Wien, JACK quartet, Les Percussions de Strasbourg, Ictus, Quatuor Diotima, Ensemble Remix, Nieuw Ensemble, Ensemble l’Itineraire, Ensemble Contrechamps, International Contemporary Ensemble, Alarm Will Sound, David Grimal, Kammerensemble für neue Musik Berlin, Phoenix Ensemble, Collegium Novum Zürich, Drumming Grupo de Percussão from Porto, Ensemble Laboratorium, Osterreichiches Ensemble für neue Musik and, Sound’arte. Upcoming projects include new works for the Symphonieorchester des Bayerischen Rundfunks, Orchestra della Svizzera Italiana, Ensemble Modern, Jack, Remix ensemble, London Sinfonietta, Asko|Schönberg and Collegium Novum Zürich. Oscar Bianchi was a guest of the DAAD Kunstlerprogramm Berlin, Pro-Helvetia in Warsaw and Johannesburg and the Atlantic Center for the Arts in Florida. He has been awarded numerous prizes, such as the Gaudeamus First Prize, the Grand Prix de la SACEM, the Dussurget Prize, the Asm-Stv Prize, the Aargauer Kuratorium fellowship and the Ictus fellowship. Partendo, for countertenor and ensemble, was also awarded with the 2016 IMC International Rostrum of composer’s prize. His CD Portrait received the German Record Critics’ Award. The works of Oscar Bianchi have been performed throughout Europe, Asia and the Americas in prestigious venues such as Philarmonie Berlin, Alice Tully Hall (Lincon Center, New York); Luzern Festival; Festival d’Aix-en-Provence, La Monnaie, Moscow Philharmonic, Muziekgebouw, Amsterdam; Herkules Saal Munich, Venice Biennale; Musica Festival Strasbourg; Autumn Festival Warsaw; Casa da Musica Porto, Cairo Opera, Ultrashall Berlin; Eclat Stuttgart; Gasteig Munich; Ars Musica, Bozar, Brussels; Archipel, Geneva; Tages für Neue Musik, Zürich; IRCAM CentrePompidou, Paris; Abbaye du Royaumont; DRS; RSR; RSI; RAI; France Culture; RFI; TFI; France Inter; RTBF; ORT; SWR; Deutschland Kultur, RBB, Tchaikovsky Conservatory, Moscow; the University of Witwatersrand, Johannesburg; Kulturhuset, Stockholm; Sonora Festival, Cologne; OggiMusica, Lugano; Musica è Realtà, Milan; Nuove sincronie, Milan; Milan Conservatory; Teatro Comunale di Bologna, Nuova Consonanza, Rome; CEMAT, Rome.

CONNECT: THE AUDIENCE AS ARTIST ORANGO BY OSCAR BIANCHI Connect: The Audience As Artist is a pan-European initiative made possible by the Art Mentor Foundation Lucerne, exploring ground-breaking avenues of musical communication with the audience. This cooperation between four leading ensembles – London Sinfonietta, Ensemble Modern, Asko|Schönberg and Remix Ensemble – results in a new composition interactively including and involving the listener in the concert. This is the third year of the project’s existence having worked with composers Cristian Mason, Huang Ruo and Philip Venables on imaginative projects that involved the audience in their execution.

performers which will articulate different phases of the event, so that the two main instances (musicians and audience) will be part of each other’s universe, both through the means of triggering musical material and by articulating such material, whether alone, as an individual group or together.

Within the pre-performance workshops, the audience have had the chance to learn and practice different ways of making music with the ensemble: from using the voice (not in a strictly musical sense) to playing with everyday objects or fooling around with recorder heads. Besides practicing and preparing the piece, we will share with the From the Composer: Oscar Bianchi audience that music-making is, in fact, much more than dealing with pitches and dynamics, but a I have recently worked on musical theatre works performative act, a life dimension that occasionally involving not only professional musicians, but dancers and actors. Here l have been exposed to the moves from tactile experience to inward dimensions, necessity of requiring ‘non-professionals’ to produce involving strength, rootedness as well as humour or lightness. sounds and music content which had to be both valuable and dramaturgically worthy. Thus, Connect: The Audience as Artist came at a moment In this project, l am working towards a compositional and formal model that aims to embrace and when I wanted to further explore and redefine my celebrate all of the protagonists, audience and role as a composer – within such performative ensemble. Throughout a quasi-continuous spaces in which the protagonists producing the sound are not only professional musicians, but also performance, ensemble musicians will also perform what the audience has been asked to, while the general audience. emancipating towards more instrumental and/ Although all four ensembles involved in this project or individual play, both cross-fading the audience and fully emancipated from it. This way both the ultimately perform the same piece, several factors sound material, whose origin is often to be found in will make each performance a very different the audience’s doings (or audience and ensemble experience. It is not irrelevant in this context that the locations will be very different: from black boxes playing the same material), and the formal apparatus will be organically interwoven with instrumental play (Frankfurt LAB via hybrid spaces (Muziekgebouw and ensemble performance. Amsterdam) to traditional concert halls (Casa da Musica, Porto). And each ensemble has its own way of approaching special projects like this. One ensemble, for instance, proposed to work with a visual artist in order to put further emphasis on the visual and material elements of the performance.

In order to avoid giving the audience simply an ornamental function, I decided to make them the centrepiece of the performance. Both musical content and structures are the audience’s responsibility at times. Together with the musicians, they are a physical part of the larger body of

Unpredictability and the standard definition of a musical score form somewhat of an antithesis. I have therefore worked on a notational system that will take all of this into account. Some parts will be notated as they would be in a script, like in a play. This performance is the chance to experience something on the order of the unexpected, but mostly within the realm of energies and interactions. A vivid experience, yes, but also deliberately chaotic, joyous and hopefully very lively. © Oscar Bianchi

TANSY DAVIES

UNDERTOW

Davies’ work has been inspired by sources as diverse as Zaha Hadid (Spiral House) and Anselm Kiefer (Falling Angel). Her fascination with the Troubadours finds expression in Troubairitz, the 2010 song cycle that gave its name to a portrait disc on Nonclassical. 2012 saw the premiere of Nature by Huw Watkins, Birmingham Contemporary Music Group and Oliver Knussen, as well as the release of Spine, an all-Davies disc on NMC.

After a while an undertow springs up below the undertow, followed very soon by another, with dark clarinet taking over the piano’s role. There are moments when the surface turns suddenly smooth and glistening, and others when the nature and speed of the main current switches. Then the four instruments that were at first silent seem now to want to revisit those opening moments, until a slow finale carries all the bobbing instruments to where undertows go, the marking ‘underwater’.

Tansy Davies studied at the Guildhall School of Music & Drama and Royal Holloway. In 2004 neon – a gritty collage of twisted funk written for the Composers Ensemble – quickly became her calling card. Since then her music has been championed by ensembles including the New York Philharmonic, Ensemble intercontemporain, and the Tokyo Symphony Orchestra and at festivals including Ultima, Présences, and the Warsaw Autumn.

Between Worlds, a response to 9/11 with a libretto by Nick Drake, was premiered by English National Opera in 2015 (directed by Deborah Warner) and resulted in a British Composer Award. Recent works include Regreening for singing orchestra – for the National Youth Orchestra of Great Britain – and Forest, a concerto for four horns premiered by the Philharmonia under EsaPekka Salonen. Cave, a second operatic collaboration with Drake, was premiered by Mark Padmore, Elaine Mitchener, and the London Sinfonietta in 2018. Davies is an Associate Professor of Composition at the Royal Academy of Music, London and is Composer in Residence at Amsterdam’s Concertgebouw for 2018/19. Current projects include pieces for the Asko|Schönberg Ensemble and Royal Northern Sinfonia.

Undertows are deceptive. This one, written in 1999 for Chroma and playing for six minutes or so, begins as a piano piece – a false start, then, for a quintet – that carries at least two other kinds of undercurrent, generic (are we in a cocktail lounge, or overhearing one of Nancarrow’s pianolas?) and material, as small handfuls of notes in their syncopated rotations tug at harmonic and rhythmic definition.

MICHAEL NYMAN Michael Nyman is a composer, pianist, librettist, writer, musicologist, photographer and film-maker whose work encompasses opera, concert music and film soundtracks of which The Draughtsman’s Contract and The Piano are best-known. Since founding the Michael Nyman Band in 1977, which tours the world, he has worked with leading film directors and has collaborated with artists such as Mary Kelly, Damon Albarn, Carsten Nicolai and the Oscar-winning Man on Wire star Phillippe Petit. Recent work includes several contributions to what is an intended series of 19 symphonies. Further War Work: 8 Songs with Film is a powerful example of Nyman’s work as a composer and also film-maker. His music is available via an extensive range of recordings on his own label, MN Records.

IN C INTERLUDE

Nyman’s In C Interlude was commissioned by the artistic director of COMA. The short work for five flexible parts is based on a theme from his score for the Laurence Dunmore film The Libertine (2004). It begins with a single instrument playing a repeating melodic sequence. At each repetition a new instrument joins, exploring the potential harmonies and complementary musical lines. Thus an accompaniment is built up, riffing along to the unchanging central melody, until all five players (or groups of players) are involved and the texture blossoms into the classic Nyman sound, featuring rhythmically quirky instrumental lines of expanded minimal material pulsing along in joyous interaction. © Jonathan Lennie

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TRISH CLOWES

Trish Clowes is an acclaimed saxophonist, composer and bandleader and former BBC Radio 3 New Generation Artist. John Fordham described Clowes as ‘one of the most agile and original jugglers of improv and adventurous composition to have appeared in the UK in recent times’. Hailing from Shrewsbury in Shropshire, Clowes moved to London in 2003 to study at the Royal Academy of Music. Clowes has released four highly acclaimed albums on Basho Records, with a fifth (Ninety Degrees Gravity), recorded with her current band My Iris, scheduled for release in spring 2019. She has collaborated with the BBC Concert Orchestra both on her album Pocket Compass and on two BBC commissions (The Fox, The Parakeet and The Chestnut, winning a BASCA British Composer Award in 2015). Alongside her work as a performer and composer Clowes has been curating her own new music project Emulsion since 2012. Emulsion has hosted various events and festivals in London, Birmingham, Shrewsbury and at Cheltenham Music Festival, receiving coverage on BBC Radio 3 along the way, and to date has commissioned seventeen new works.

A WALK IN THE PARK – OR SO THEY SAY A walk in the park – or so they say is the outcome of a project entitled ‘Sound Out’ - a collaboration between the London Sinfonietta and the music services in the boroughs of Enfield, Haringey and Waltham Forest.

A series of composition workshops in secondary schools, led by John Cooney and John Webb, and involving London Sinfonietta musicians, resulted in a rich body of imaginative, short, single-instrument works incorporating extended instrumental techniques. This material was then re-worked by composer Trish Clowes into A walk in the park – or so they say.

JONATHAN STOCKHAMMER

PATRICK BAILEY

Jonathan Stockhammer has made a name for himself in the worlds of opera, symphonic repertoire, and contemporary music. As a superb communicator, he has a great talent not only for presenting concerts but also for working on an equal footing with a variety of performers – whether they are young musicians and rappers or stars including Imogen Heap or the Pet Shop Boys. Opera is central to his work. He has been a regular guest at Opéra de Lyon since first appearing there in 1998. In the spring of 2016, he made his debut at the Vienna State Opera in a new production of Peter Eötvös‘s Tri Sestri and premiered Georg Friedrich Haas‘s opera KOMA at the Schwetzingen Festival. Most recently, he made his debuts at the Theatre Basel and the Komische Oper Berlin with Philip Glass’ Satyagraha in a production by Sidi Larbi Cherkaoui.

Patrick Bailey is a conductor, composer and presenter. He has conducted concerts with the Philharmonia Orchestra, Royal Philharmonic Orchestra, Britten Sinfonia, London Sinfonietta, New Music Players, Cambridge University Music Society and many others. Whilst he was Music Director of The Opera Group, he conducted numerous new productions and tours including Blond Eckbert and The Nose (Royal Opera House), The Shops (world premiere, Bregenz Festival, Austria) and Street Scene (Young Vic & winner of the Best Musical at the Evening Standard Awards). Other notable performances include the UK premiere of Nono’s gargantuan Prometeo with the London Sinfonietta at the Royal Festival Hall.

Jonathan Stockhammer has worked with numerous renowned orchestras such as the Oslo Philharmonic, NDR Symphony Orchestra Hamburg, Czech Philharmonic Orchestra, Philharmonia Orchestra and the Sydney Symphony Orchestra, and has appeared at the Salzburg Festival, Lucerne Festival, Donaueschingen Festival, Biennale Venice, the Wiener Festwochen and Wien Modern. Highlights of the 2018/19 season include his debuts with the Frankfurt Radio Symphony in works by Schumann and Boulanger, with the London Sinfonietta as well as at the Zurich Opera in Pelzel’s Last Call, and reinvitations to the Philharmonia Orchestra, Deutsche Radiophilharmonie, Ensemble Modern, Collegium Novum Zürich and the Opéra de Lyon in Ravel’s L’heure espagnole.

As a composer, workshop leader and presenter, Patrick has led projects and written and presented concerts for BBC orchestras, BBC Proms, London Philharmonic Orchestra, Philharmonia Orchestra, Royal Opera House, Trinity-Laban Conservatoire of Music and Dance, Bournemouth Symphony Orchestra and Music for Youth. Patrick held the post of Learning Manager for the BBC Concert Orchestra and, later, Education & Community Director of the London Philharmonic Orchestra. He is currently a Bournemouth Symphony Orchestra Associate, leading their participation work in Cornwall where he now lives. He is the founder and Artistic Director of Kevos, a group of Cornwall-based musicians dedicated to performing contemporary music. He continues to divide his time between Cornwall and working across the UK.

ZÖE MARTLEW

A well known figure in the British new music scene, the increasingly un-categorisable Zoë Martlew travels the world as cellist, performer, educator, media commentator and composer, performing as soloist and with some of the world’s most renowned contemporary music ensembles, chamber groups, film, electronica, multi-media, pop and rock artists, dance and theatre companies. Her one woman musical cabaret Revue Z has played at festivals in Iceland, Spain, Denmark, Orkney and at Wigmore Hall, where she is a regular performer. Schott publish her music and recent and upcoming commissions include ensemble pieces for BCMG, CoMA, Lore Lixenberg/Occupy the Pianos (St John’s Smith Square, a song cycle for Lucy Schaefer/ Huw Watkins Cheltenham Festival, clarinet/ electronics piece for Mark Simpson and an ensemble piece for Britten Oboe Quartet. She performs her amplified cello/tape funk piece Shift in spring in New York as part of a ballet choreographed by Antonia Franceschi, and her string trio Völuspå will be performed at Tanglewood Festival, Massachusetts, in the summer.

Zoë was a judge on BBC TV’s Maestro and Young Musician of the Year; regular commentator/presenter for BBC Proms and Radio 3 and was on the UK panel for the 2009 Eurovision Song Contest. She is much in demand for educational activities, including artistic director of the Saigon Chamber Music Festival in Vietnam, cello tutor for the NYO and a regular jury member for competitions. She studied at the Royal College of Music, Clare College, Cambridge, the Royal Academy of Music and the Chopin Academy in Warsaw.

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 400 works and premiere many hundreds more. Our ethos today is to constantly experiment with the art form, working with the best composers and performers and collaborating with artists from alternative genres and disciplines. We are committed to challenging perceptions, provoking new possibilities and stretching our audiences’ imaginations, often working closely with them as creators, performers and curators of the events we stage.

that arts participation is transformational to individuals and communities, and that new music is relevant to all our lives.

Resident at Southbank Centre and Artistic Associate at Kings Place, with a busy touring schedule across the UK and abroad, the London Sinfonietta’s core 18 Principal Players, are some of the finest musicians in the world. Holding a leading position in education work, we believe

Recent recordings include George Benjamin’s opera Into the Little Hill (Nimbus; 2017), Benet Casablancas’ The Art of Ensemble (Sony Classical; 2018), David Lang’s Writing on Water (Cantaloupe Music; 2018) and Philip Venables’ debut album Below the Belt (NMC; 2018).

This belief is 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 our Principal Players. The London Sinfonietta has also broken new ground by creating Steve Reich’s Clapping Music App for iPhone, iPad and iPod Touch, a participatory rhythm game that has been downloaded over 300,000 times worldwide

ORANGO PUBLIC PARTICIPANTS Zoe Cure Genene Edwards Maria Filippova Bryony Ford Tamara Galloway Charlotte Glynn-Woods Gids Goldberg William Hammonds John Hodgson

Maryse Hodgson Anna Janmaat Clare Jones Li Keegan Julie Lung Luke Mathews Caroline Mawer Sofia Vaisman Maturana Achala de Mel

Javier Navarro Bob Parks Janhavi Pradhan Annie Rozée Esmeralda Conde Ruiz Fiona Samuels Sing-Yee Tan Victoria Teggin King Caryl Vytelingum

TONIGHT’S PLAYERS Pasha Mansurov** flute/ bass Constance Froment* flute Olivia Scanlon-Sanderson* flute Melinda Maxwell** oboe/ cor anglais Isabelle McBroom* oboe Danny Marshall* oboe Scott Lygate** clarinet/ bass/ contra Benjamin Adams* clarinet Safya Campbell* clarinet Isabelle McBroom* bassoon Toby Street** trumpet Tarrel Coimbra* trumpet Juliet Firth* trumpet Zara Zaman* trumpet Francisco Gomez** horn Daniel Morris* french horn Arjun Ramamurthy* french horn Ryan Horn** trombone Rosie Hegarty Morrish* trombone Felix Hollenbery* trombone Lea Ferlauto Wilson* tuba

Miranda Fulleylove** violin Lily Bacon Darwin* violin Zachary Bacon Darwin* volin Eleanor Browning* violin Charlotte Cummings* violin Maia Evans* violin Andrei Gheorghe* violin Jessica Hember* violin Talia Herberg* violin Laura Muurisepp* violin D’evante Seepaul-Craig* violin Fiona Wunning** viola Zareena Cassime* viola Darwin Dela Cruz* viola Jemma Moylan Torke* viola Logan Patterson* viola Louise Wise* viola Georgia Wright* viola Joely Koos** cello Kristian Baird* cello Ben Dawson* cello

*Instrumentalists from Enfield Youth Symphony Orchestra, Haringey Young Musicians Symphony Orchestra and Waltham Forest Youth Orchestra **London Sinfonietta players

Matthew Price* cello Leon Srikantha* cello Adam Winter** bass Terry Li* double bass Elizabteth Burley** piano Oliver Lowe* percussion Henry Lim* percussion Orlando Valman* percussion Joe Richards** percussion

London Sinfonietta would like to thank the following organisations and individuals for their support: TRUSTS AND FOUNDATIONS The Aaron Copland Fund for Music Inc, The Amphion Foundation Inc, Art Mentor Foundation Lucerne, Arts Council England, The Barbara Whatmore Charitable Trust, The Boltini Trust, British Council, Britten-Pears Foundation, Chapman Charitable Trust,The John S Cohen Foundation, Cockayne – Grants for the Arts, The D’Oyly Carte Charitable Trust, Ernest Cook Trust, Ernst von Siemens Music Foundation, The Fenton Arts Trust, Foyle Foundation, Garfield Weston Foundation, The Harold Hyam Wingate Foundation, Help Musicians UK, Idlewild Trust, John Ellerman Foundation, Jerwood Arts, London Music Fund, The London Community Foundation, The Michael Tippett Musical Foundation, Newcomen Collett Foundation, The Nugee Foundation, PRS for Music Foundation, The Radcliffe Trust, The Roger and Ingrid Pilkington CharitableTrust, The RVW Trust, The Serge Koussevitzky Music Foundation, The Steven R. Gerber Trust, The Leche Trust CORPORATE PARTNERS Lark Music 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 Tony & Criona Mackintosh Robert McFarland Michael & Patricia McLaren-Turner Sir Stephen Oliver QC Matthew Pike Nick & Claire Prettejohn Paul & Sybella Zisman The London Sinfonietta Council SINFONIETTA CIRCLE John Bird Susan Costello in memory of Robert Clark Dennis Davis (supporting Colin Matthews) John Hodgson (supporting Jessica

Cottis) Penny Jonas (supporting Sound Intermedia) Belinda Matthews (supporting Michael Thompson) Michael & Patricia McLaren-Turner (supporting Michael Cox) Sir Stephen Oliver QC LEAD PIONEERS Régis Cochefert Tony Mackintosh Antonia Till ARTISTIC PIONEERS Anton Cox John Hodgson Nicholas Hodgson Julie Nicholls Simon Osborne David & Jenni Wake-Walker CREATIVE PIONEERS Ian Baker Ariane Bankes Andrew Burke Jeremy & Yvonne Clarke Rachel Coldicutt Dennis Davis Richard & Carole Fries John Goodier Patrick Hall Chris Heathcote Andrew Hunt Frank & Linda Jeffs Walter A. Marlowe Philip Meaden Stephen Morris Andrew Nash Ruth Rattenbury Malcolm Reddihough Frances Spalding 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 & 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) Byron Fulcher trombone Jonathan Morton violin 1 (supported by Paul & 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 Tony Mackintosh) Helen Tunstall harp David Hockings percussion David Sheppard Sound Intermedia (supported by Penny Jonas) Ian Dearden Sound Intermedia (supported by Penny Jonas) LONDON SINFONIETTA COUNCIL Paul Zisman chairman Andrew Burke Régis Cochefert Annabel Graham Paul Belinda Matthews Jonathan Morton Matthew Pike Sally Taylor Ben Weston LONDON SINFONIETTA STAFF Andrew Burke Chief Executive Frances Bryant General Manager Elizabeth Davies Head of Finance Volker Schirp Financial Assistant Natalie Marchant Concerts & Projects Manager Hannah Bache Concerts & Touring Coordinator Lindsay Wilson Projects Manager Christine Andrews Participation & Learning Officer Sam Delaney Development Officer Evie Fordham Development Assistant Niamh Collins Marketing Manager Amelia Lampitt Marketing Assistant Adam Flynn Digital & Projects Officer Michelle Sharpe Professional Placement Trainee LONDON SINFONIETTA AMBASSADORS Tony Mackintosh Robert McFarland Philip Meaden Sir Stephen Oliver QC Penny Jonas FREELANCE & CONSULTANT STAFF Hal Hutchison Concert Manager Lesley Wynne Personnel Manager Tony Simpson Lighting Designer Maija Handover sounduk The London Sinfonietta is grateful to its auditors and accountants MGR Weston Kay LLP.

LOVE NEW MUSIC? Share your passion as a Pioneer

London Sinfonietta Pioneers play a crucial role in making new music happen. They provide a bedrock of support for brand new commissions, world premiere performances and ground-breaking projects, forming a close association with the ensemble. Become part of the creative journey and find out more about how to support our work at londonsinfonietta.org.uk/support-us

ÂŠ Amelia Lampitt

Image: La Cueva de las Manos in Argentina (Tansy Davies/Nick Drake: Cave, 20-23 June)

MUSIC NEW MUSIC NEW

NOW NOW UPCOMING EVENTS THIS SPRING

TURNING POINTS: THE EMERGENCE OF MINIMALISM Saturday 23 March at 7.00pm Kings Place Featuring Reich and Glass, dig beneath the surface and discover more about minimalism in an evening of installations, films and performance.

STOCKHAUSEN: DONNERSTAG AUS LICHT

Tuesday 21 & Wednesday 22 May 2019 at 6.30pm, Royal Festival Hall Stockhausenâ&#x20AC;&#x2122;s monumental opera returns to the UK for the first time since 1985.

RICHARD AYRES: THE GARDEN

Wednesday 17 April at 7.30pm Queen Elizabeth Hall A dissatisfied man digs from his garden to hell, then all the way up to heaven in this new music-theatre work. (UK premiere)

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