GudmundsenHolmgreen: Flow My Tears Sunday 2 March 6pm Purcell Room at Queen Elizabeth Hall, Southbank Centre, London Pelle Gudmundsen-Holmgreen (all London premieres) Play Sound I Sound II Song Run Turn II Company Post-concert recital of John Dowland songs in the foyer Tell Me True Love Flow My Tears Now, Oh Now, I Needs Must Part Paul Hillier conductor Theatre of Voices London Sinfonietta The London Sinfonietta is grateful to Arts Council England and the PRS for Music Foundation for their generous support of the ensemble’s Music Programme 2013/14, to the John Ellerman Foundation for their support of the ensemble and to the Danish Arts Council Committee for Performing Arts, the Danish Composers’ Society’s Production Pool / KODA’s Fund for Social and Cultural Purposes and Edition Wilhelm Hansen for their support of the Denmark Calling series. Theatre of Voices is supported by Danish Arts Council, Augustinus Fonden, Beckett-Fonden, Oticon Fonden, Wilhelm Hansen Fonden, Dansk Musikforlæggerforening, and Danish Composers’ Society’s Production Pool / KODA’s Fund for Social and Cultural Purpose.
Welcome Welcome to our two concert series Denmark Calling. We are proud to be featuring the music of Danish composers of different generations over the next two weeks. Tonight, we play a set of music by the extraordinarily inventive and original Pelle Gudmundsen-Holmgreen. As well as being an elder statesman of Danish composition, his music and personality displays a continuous energetic curiosity. It’s always been the role of the London Sinfonietta to bring new music to London that needs to be heard far more widely. I’m especially proud we are doing that tonight. We are also very pleased to be presenting this great programme of work that Pelle has composed so recently. The set of pieces works so well as a whole – audiences in Krakow, Copenhagen and Huddersfield have already been hugely moved by the programme. I am grateful to Else Torp of Theatre of Voices who first enthused to us about Pelle’s music. We are also very pleased to be releasing the CD of tonight’s music on Dacapo Records. As well as Arts Council England and the PRS for Music Foundation, I would also like to thank the Danish Arts Council, Danish Composers’ Society and Edition Wilhelm Hansen for their financial support of this project. Enjoy this evening, and do join us for part two on Wednesday 12 March when we perform the music of Simon Steen-Andersen, and others. Andrew Burke @ab2102 Chief Executive, London Sinfonietta
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Pelle GudmundsenHolmgreen (b. 1932) had to argue for its existence, and create that existence through a resolve that at any point might disintegrate or be deflated. Soon came minimalism (just three chords provided the material for his 1969 orchestral piece Tricolore IV), a personal kind of symmetrical structure (in a series of works entitled Spejl, or Mirror), quotation, and a rather barren period when Gudmundsen-Holmgreen was in his forties. Since then he has been working as productively as he did in his youth. Major works include Triptykon for orchestra with solo percussionist (1985), collaborations with the Kronos Quartet – Ground (1986), to which he characteristically added Lost Ground (2006), Concerto Grosso (1990) – where the four string players are surrounded by an orchestra of what he calls ‘Jungle Vivaldi’, and concertos for cello and violin. He has also, in a formidable output of music for chorus or small vocal ensemble, rediscovered the innocence that was never truly lost. Image © Jeppe Gudmundsen-Holmgreen
Obstinacy and contrariness seem to have kept Pelle Gudmundsen-Holmgreen going through a creative life that now extends back through sixty years, to a time of innocence in Danish music, before the storms blew in from Germany and New York. Such a turmoil of innovation then, tumbling on a composer in his twenties, was at once exciting and disorienting. Gudmundsen-Holmgreen plunged into the new possibilities of overt construction, particularly rhythmic and formal construction, which made him think of music as made more than felt, as needful absurdity, supreme mischance. Nothing could be taken for granted any more. A work
© Paul Griffiths
Exiled In the dedication John Dowland gave his Second Book of Songs or Ayres (1600), he noted he was writing ‘from the court of a foreign prince’. By then he had been two years in the service of the Danish king, Christian IV, an absence that may have given a personal sense to the words he wrote for the book’s second song: ‘Flow my tears, fall from your springs; Exiled for ever, let me mourn where night’s black bird her sad infamy sings’. ‘Exiled’ also in other ways, this song is a classic expression of that feeling of aloneness and estrangement the age called ‘melancholy’. Moreover, the words are doubtful and unstable tenants of music Dowland had written four years earlier as an instrumental pavan, under the title Lachrimae. Now those words and that music, still in Denmark, haunt pieces by Pelle GudmundsenHolmgreen, and find another exile in the 21st century. Play, as it almost must, unfolds a process of restitution and loss through iterations, ostinatos, eruptions and arpeggios. The ending is in A major, and the ‘Flow my tears’ scalewise descent is the outcome of a mirroring ascent, from E to A. As this falls apart, we might be reminded less of Dowland than of Mahler. After Play come two more dismantlings of the Dowland song, drawing on the phrases ‘Flow my tears’ and ‘Down vain lights’. Sound I (2011) is a study in consonants and pulsed rhythm, until ultimately it discovers vowels and pitch: the eternal A, voiced by soprano and alto, then by alto and tenor an octave lower – though the final gesture brings a touch of the composer’s humour. Sound II (2012), beginning from a point shortly before this, is conversely tuned all through and largely made of vowel sounds. There is barely a hint of the Dowland. Song, Play and Company, all written in 2010, are strongly connected in that Song and Play together
form Company. (The composer surely wants us to remember that two of these titles are shared with works by Beckett.) Song starts out on an A, which it occludes with quarter-tones, and then gradually assembles notes and phonemes from the opening lines of the Dowland, especially the phrases ‘Flow my tears’ and ‘Down vain lights’, both set to the descending scale A–G–F–E. Occasionally, to manifest inarticulacy, one of the four voices will choke to a standstill as the throat is closed, but mostly the elements of the song just float and repeat. Stages in the recovery process include an A minor chord, the first connected words and the first direct quotation of music and words together (at ‘night’s black bird’). The coalescence of the original continues until Dowland’s whole beginning is restored, but in A major, which curiously sounds more fragile than the true A minor. Then, almost inevitably, the image dissolves. Run and Turn II, both of which date from 2012, may perhaps be regarded as satellites of the Flow my tears cycle, or else as exiles from it, for they do not allude to the song directly. Run is for a line-up of low wind instruments (bass clarinet, contrabassoon, trombone), two percussion players and solo string quintet, with the double bass allied with the wind and percussion to suggest a growling jazz group that has a string quartet in tow. Turn II, besides bringing in voices, fields bass flute, guitar, harp and percussion, and so adds most of the remaining instruments, leaving only the horn yet to appear. Hot from the outset, and dark, Run gains a glimpse of clarity in a quick arpeggio of violin harmonics and moves into a slower section of trombone verses accompanied by bass clarinet, though with the pulsation of the opening still flickering in the background. Its might restored, it goes on through bumps and restarts to recover, twice, the low B flat on which the trombone
Image © Jeppe Gudmundsen-Holmgreen
entered at the beginning. There is restlessness all through – an impression, perhaps, that the instruments are not altogether willing team players but pull and push in different harmonic directions. This is even more the case at the beginning of Turn II, which expands a 1993 piece for soprano, bass flute, guitar and harp, and which, unlike Run, features quarter tones and unusual effects (most of all on the bass flute). Three instrumental lines – from guitar, bass flute and percussion, entering in that order – seem to be tugging as much apart as together, each with its own worries. The guitar, for instance, is drawn to C on the treble staff, a note it reiterates in its opening gambit, the whole of which it repeats now and then. At the second repetition the harp enters and also the first voice, a soprano chanting vowel sounds, one per note, always on the beat. Regularity here, of mode and rhythm, could hardly be more in contrast with the continuing instrumental jumble, and yet the voice appears integrated into its context. Two things unalike are in the same space. And so it remains as other voices are introduced, and as these move into a new set of vowels and notes. Finally, though, with the scoring returning to that of the original Turn, voice and instruments are in accord. Turning and turning, the music has become increasingly diatonic, to the point where the soprano can keep cadencing on the note, A, from which Flow my tears and all its derivatives here assembled depend. Heard conjoined as Company, both Song and Play are recognizably the same, of course, but also
entirely different. Play now has a defined object for its energy in Song, which it by turns instigates, bolsters and obtrudes, and Song now rides the waves of an audible storm. The ending, which in both Song and Play was a farewell, is now much more an arrival, of music no longer in exile. © Paul Griffiths
Programme note The works played at this concert are related in different ways. Run and Turn II are based on the same very limited musical material (symmetrical tone grids). Run is connected to the following pieces rhythmically. The overall programme is composed as a sort of suite that connects some of the ideas used in the last piece Company. All titles are to be taken literally – and in my opinion this is what needs to be said about the programme. © Pelle Gudmundsen-Holmgreen
EDITION WILHELM HANSEN Representing composers Pelle Gudmundsen-Holmgreen, Bent Sørensen and Hans Abrahamsen. www.ewh.dk
Tonight’s performers Image © Ditte Capion
Paul Hillier has been Artistic Director of Theatre of Voices since 1990, is Founding Director of the Hilliard Ensemble, and present Chief Conductor of Ars Nova Copenhagen. Paul has taught at the University of California at Santa Cruz and Davis, and was from 1996-2003 Director of the Early Music Institute at Indiana University. In 2006 he was awarded an OBE for services to choral music and in 2007 received the order of the White Star of Estonia. Paul was awarded a GRAMMY for Best Choral Recording (with the Estonian Philharmonic Chamber Choir) that same year. In 2008 Paul was appointed Artistic Director and Chief Conductor of the National Chamber Choir of Ireland, and in 2009 was invited to form the new Coro Casa da Musica in Porto, Portugal. In 2013 Hillier was awarded the order of Dannebrog (The Danish Knighthood) by Her Majesty The Queen of Denmark.
Theatre of Voices Widely recognised as one of the world’s foremost vocal groups, Theatre of Voices was founded by Paul Hillier in 1990 and re-established in Denmark when he moved to the country in 2004. Theatre of Voices presents a wide range of music including Berio, Pärt and Reich, alongside Perotin, Dowland and Buxtehude. In 2007 Theatre of Voices premiered David Lang’s The Little Match Girl Passion at Carnegie Hall. Commissioned for Theatre of Voices, the work won the 2008 Pulitzer Prize with the recording receiving a GRAMMY Award in 2010 on the group’s 20th anniversary. Theatre of Voices enjoys collaborations with some of the world’s finest instrumentalists, including the Kronos Quartet, Andrew Lawrence-King, and the Smith Quartet. The group’s most recent CDs include Stockhausen’s Stimmung, and Creator Spiritus by Arvo Pärt released on Harmonia Mundi.
Image © Lars Bjarnø
Paul Hillier conductor
London Sinfonietta Michael Cox bass flute * Supported by Michael and Patricia McLaren-Turner
Mark van de Wiel bass clarinet * John Orford contrabassoon * Michael Thompson horn * Supported by Belinda Matthews
Byron Fulcher trombone * Jonathan Morton violin * Joan Atherton violin * Paul Silverthorne viola * Supported by Nick and Claire Prettejohn Rebecca Gilliver cello Enno Senft double bass * Supported by Anthony Mackintosh
Helen Tunstall harp * David Hockings percussion * Serge Vuille percussion Steve Smith guitar
* London Sinfonietta Principal Player
Theatre of Voices Else Torp soprano Signe Asmussen mezzo Chris Watson tenor Jakob Bloch Jespersen bass-baritone
London Sinfonietta Making new music The London Sinfonietta’s mission is to place the best contemporary classical music at the heart of today’s culture; engaging and challenging the public through inspiring performances of the highest standard, and taking risks to develop new work and talent. The ensemble is Resident Orchestra at Southbank Centre with its headquarters at Kings Place. Since its foundation in 1968, the London Sinfonietta’s commitment to making new music has seen it commission over 300 works, and premiere many hundreds more. Famed for its pioneering education initiatives, it continues to involve young people and the public in its work. The core of the London Sinfonietta is 18 Principal Players, representing some of the best solo and ensemble musicians in the world. The ensemble has just launched its Emerging Artists Programme, which will give professional musicians at the start of promising and brilliant careers the opportunity to work alongside those Principal Players on stage across the season. The London Sinfonietta’s recordings present a catalogue of the finest new music, including the recent release of Philip Cashian’s Piano Concerto on NMC Recordings and Pelle Gudmundsen Holmgreen’s Mixed Company with Theatre of Voices on Dacapo.
Events This spring we forge ahead into music of the 21st century, focusing on commissions and premieres from Pelle Gudmundsen-Holmgreen, Simon Steen-Andersen and Michel van der Aa that have grown out of close relationships forged with partners in Denmark and Holland.
New music We have commissioned over 20 pieces of new music for the 2013/14 season. Nine form part of our Writing the Future scheme, which pairs emerging composers with Principal Players to develop new chamber compositions, and were premiered at The New Music Show in December 2013. A series of other commissions are being released as Sinfonietta Shorts downloads: bitesized pieces of new music by the best composers of our time. This year we also expand the Blue Touch Paper programme, in order to further experiment with interdisciplinary art. In May 2014 we’ll explore the results in two events: a dance collaboration and our annual new work night at Village Underground.
Take part This season there are concerts for schools to inspire pupils and teachers with the music of today, and original public performances by teenagers from Kings Cross as part of the KX Collective. The London Sinfonietta Academy continues into its sixth year, and at the start of summer 2014 the UK’s most talented young players will have the chance to learn side-by-side with our Principal Players at an intensive week-long course, culminating in a public performance. The London Sinfonietta Academy will also provide the foremost route into the new Emerging Artists Programme. Then there are open calls to the public (that’s you!) to take part across the season in person and online, culminating in a mass participation event at Southbank Centre in June 2014.
Denmark Calling
Two concerts celebrating Danish music in London The London Sinfonietta has championed the work of Danish composers across Europe in recent years. This March, two events bring this brilliant music back to you at home, starting with this evening’s concert of works by Pelle Gudmundsen-Holmgreen. The series culminates on Wednesday 12 March at Southbank Centre’s Queen Elizabeth Hall with music by Simon Steen-Andersen, who leads the cohort of younger artists now defining the Danish cutting edge. We take on Black Box Music - an extraordinary example of his style that demonstrates why he has been performed widely across Europe already. A pair of hands is thrust inside a black box; the hands’ gestures are projected live onto the stage, directing an ensemble of musicians that surround the audience.
Secondary Schools Concert: Musical Snapshots Black Box Music will also be performed at the London Sinfonietta’s Secondary Schools Concert on Wednesday 12 March alongside works demonstrating contemporary compositional techniques such as Steve Reich’s Electric Counterpoint. The concert will also showcase a new commission performed by the KX Collective, a group of young people from the King’s Cross area who have a passion for exploring and creating new music. Visit londonsinfonietta.org.uk/events for more information.
Steen-Andersen’s video piece RunTime Error is a tour de force. Made from a pre-recorded film of the composer racing through the aisles and backstage spaces of Queen Elizabeth Hall, SteenAndersen replays and manipulates the footage live with two joysticks. The Danish theme continues on Friday 28 and Saturday 29 March in a collaboration between SNYK / Danish Composers’ Society and Sound and Music. Two exciting days at Cafe OTO feature contemporary, experimental music and sound art from British and Danish composers.
With thanks to the Danish Arts Council Committee for Performing Arts, the Danish Composers’ Society’s Production Pool / KODA’s Fund for Social and Cultural Purposes and Edition Wilhelm Hansen for their support of the Denmark Calling series.
On record Sinfonietta Shorts
CD releases
Sinfonietta Shorts are pieces by today’s leading composers, commissioned, recorded and released by the London Sinfonietta.
The London Sinfonietta’s recordings continue to offer world-class performances of new music on disc and digital download, delivered in partnership with different labels. Recent and upcoming releases are:
The series started in 2008 to celebrate the ensemble’s 40th birthday, and the works created for it have enduring relevance as bite-sized introductions to the best new music of our time.
Philip Cashian Piano Concerto (contributor) NMC Recordings (out now)
Five years on, the series is back with five more. They have been released as downloads on NMC Recordings and were performed live by London Sinfonietta Principal Players as part of The New Music Show on Sunday 8 December at Southbank Centre.
Pelle Gudmundsen-Holmgreen Mixed Company with Theatre of Voices Dacapo (released tonight)
The works are:
George Benjamin Into the Little Hill Nimbus (summer 2014)
Harrison Birtwistle Duet 3
Dai Fujikura Double Bass Concerto (spring 2014)
supported by Nick & Claire Prettejohn
Larry Goves Debut Disc NMC Recordings (summer 2014)
supported by Robert Clark and Susan Costello
Ben Foskett Debut Disc (contributor) NMC Recordings (summer 2014)
Mark Bowden Parable Dai Fujikura es
Jonathan Harvey Little Duo
supported by Sir John and Lady Tusa
Anna Meredith Axeman
Download now from NMC Recordings nmcrec.co.uk/sinfonietta-shorts
Nicolo Castiglioni Previously unissued recordings Signum (autumn 2014)
New CD Pelle Gudmundsen-Holmgreen
Mixed Company London Sinfonietta Theatre of Voices Paul Hillier
CD sale in the f s oyer
Dacapo Records 8.226114
“Mixed Company” is the world premiere recording of tonight’s music by Pelle Gudmundsen-Holmgreen, tailored by the composer to the excellent company of Danish and English performers gathered in Copenhagen to celebrate GudmundsenHolmgreen’s 80th birthday in 2012. Pelle Gudmundsen-Holmgreen Mixed Company Theatre of Voices London Sinfonietta Paul Hillier
“Here is music that derives maximum effect from minimal means in a non-glamorous yet fascinating dialect of minimalism.” Gramophone
Also available on Dacapo Records:
The Natural World of Pelle Gudmundsen-Holmgreen Ars Nova Copenhagen Paul Hillier CD 6.220583
Kronos plays Holmgreen Kronos Quartet Danish National Symphony Orchestra Paul Hillier Thomas Dausgaard CD 6.220548
Music is a Monster (DVD) A portrait of Pelle GudmundsenHolmgreen DVD 2.110406
Order Dacapo CDs or download online on www.dacapo-records.dk (free delivery worldwide) or purchase from Amazon.co.uk or Naxosdirect.co.uk.
dacapo-records.dk
UK touring This season our UK touring takes us to Canterbury and Spitalfields as we continue to champion new music across the country. Sounds New Festival, Canterbury Monday 5 May 2014 We explore politics in music in a programme featuring the music of Louis Andriessen, Johannes Kreidler and Frederic Rzewski. We will also be working with Canterbury Christ Church University students in a series of rehearsals and workshops as part of a short residency at St Gregory’s Music Centre.
Rich Mix, Spitalfields Summer Festival Sunday 15 June 2014 Sound and image interplay in the world premiere of the London Sinfonietta commission Passing Light, a collaboration from Bryn Harrison and Tim Head. Music and visuals evolve in subtle transformations of textures, colours and harmonies, while the audience is free to move around, suspending their sense of space and time. More news on our summer touring projects will be announced in March. Visit londonsinfonietta.org.uk/events for more information.
Louis Andriessen | Image Š Francesca Patella
Steen-Andersen: The New Black Box Music Music Show
Van der Aa: Here
New rules Festival-in-a-day Wednesday 12 March 2014 Sunday December 7.30pm 8Main Event 2013 from 11.15am Queen Elizabeth Hall andConversation Purcell Room, Post-concert Composer Southbank CentreHall, Southbank Centre Queen Elizabeth
A theatre of the imagination
Romitelli: An Index of Metals
Sir Harrison Birtwistle at 80
Booking opens Tuesday 4 March 2014
Booking opens Tuesday 4 March 2014
Wednesday 8 October 2014 8pm Main Event Queen Elizabeth Hall, Southbank Centre
Friday 5 December 2014 7.30pm Main Event Queen Elizabeth Hall, Southbank Centre
Wednesday 30 April 2014 6.15pm Composer Conversation 7.30pm Main Event Queen Elizabeth Hall, Southbank Centre
Take Part Assemble: Music with People New music made with you. On Saturday 7 June, the London Sinfonietta collaborates with the public as performers and creators at Southbank Centre. An open call in March will invite participants to perform alongside the ensemble in classic and new works for public involvement. Submissions of video, sound and music will also be needed as raw material for new works in the event. The project will involve London Sinfonietta Principal Players, London Sinfonietta Emerging Artists, London Sinfonietta Academy alumni, the KX Collective, young musicians from local schools and members of the wider public.
Programme to include: KX Collective New set Louis Andriessen Workers Union Emily Hall New work Frederic Rzewski Les Moutons de Panurge Visit londonsinfonietta.org.uk/events for more information. Booking opens spring 2014.
Support us
We make new music. You make new music happen. Entrepreneurs The London Sinfonietta Entrepreneurs is the ensemble’s new programme to build partnerships with passionate individuals who share our vision for making new music, and help us in supporting and shaping future projects. Through the Entrepreneurs, we aim to raise £500,000 in new support over the next five years to mark the ensemble’s 50th birthday in 2018. Our target is to enlist 50 individuals or groups to initiate 50 entrepreneurial projects, that support the programme and the core activity of the organisation.
London Sinfonietta Pioneers
Pioneers are vital to the success of the London Sinfonietta and enjoy a close relationship with the ensemble. Become a Lead Pioneer and support our world-class Principal Players and Emerging Artists or put yourself at the forefront of new music as a Creative Pioneer and help fund works by composers such as: Sir Harrison Birtwistle, Laurence Crane, Mica Levi, Tom Coult
Entrepreneurs will enjoy a close involvement and open dialogue with the ensemble through their chosen area of support. Individual Entrepreneur membership starts at £10,000 and can be payable over a maximum of five years (i.e. £2,000 per year). We also welcome corporate and syndicate members to support projects and commit to the same level of support.
PIONEER £35+ per year
Entrepreneurs can direct their support to different areas of the London Sinfonietta’s work:
CREATIVE PIONEER £200+ per year or £16.67+ per month
Performance & Touring Commissioning Young Talent & Community Digital & Audiences For more information contact Claire Barton, Development Manager: claire.barton@londonsinfonietta.org.uk or visit londonsinfonietta.org.uk/entrepreneurs
LEAD PIONEER £1,000+ per year or £83.33+ per month Visit londonsinfonietta.org.uk/pioneers for more information.
Trusts and Foundations London Sinfonietta would like to thank the following organisations, which have supported us over the last year: Arts Council England The Aaron Copland Fund for Music The Angus Allnatt Charitable Trust The Boltini Trust The British Council The Britten-Pears Foundation The Derek Butler Trust The City of London Corporation’s City Bridge Trust Columbia Foundation Fund of the London Community Foundation The Ernest Cook Trust The D’Oyly Carte Charitable Trust The John Ellerman Foundation Esmée Fairbairn Foundation Fidelio Charitable Trust The Goldsmiths’ Company Charity Lord Harewood’s Charitable Settlement The Holst Foundation Jerwood Charitable Foundation The Stanley Thomas Johnson Foundation The Leche Trust The Leverhulme Trust The Marple Charitable Trust Help Musicians UK PRS for Music Foundation RVW Trust The Harold Hyam Wingate Foundation Youth Music
London Sinfonietta Honorary Patrons John Bird Sir Harrison Birtwistle Alfred Brendel KBE Sir George Christie CH
Lead Pioneers Sir Richard Arnold Trevor Cook Susan Grollet in memory of Mark Grollet Leo and Regina Hepner Penny Jonas Anthony Mackintosh Belinda Matthews Robert & Nicola McFarland Michael & Patricia McLaren-Turner Andrew Mitchell Sir Stephen Oliver QC Nick & Claire Prettejohn Richard Thomas & Caroline Cowie Paul & Sybella Zisman
Creative Pioneers Ian Baker Andrew Burke Robert Clark Jeremy & Yvonne Clarke Rachel Coldicutt Susan Costello Anton Cox Dennis Davis Patrick Hall Nicolas Hodgson Andrew Hunt Frank & Linda Jeffs Alana Lowe-Petraske Stephen Morris Julie Nicholls Simon Osborne Patricia O’Sullivan Ruth Rattenbury Lord Stevenson of Coddenham
Iain Stewart Anne Stoddart Sally Taylor Barry Tennison David & Jenni Wake Walker Fenella Warden Estela Welldon John Wheatley Jane Williams Stephen Williamson Michelle Wright Plus those generous Lead and Creative Pioneers who prefer to remain anonymous. Thanks also to the London Sinfonietta Pioneers.
London Sinfonietta Council Paul Zisman Chairman Andrew Burke Rachel Coldicutt Ian Dearden David Hockings Penny Jonas Alana Lowe-Petraske Belinda Matthews Philip Meaden Sir Stephen Oliver QC Matthew Pike Paul Silverthorne Sally Taylor Elizabeth Davies Company Secretary
London Sinfonietta Staff Andrew Burke Chief Executive Sarah Tennant Head of Concert Production Natalie Marchant Concerts & Touring Administrator Tina Speed Participation & Learning Manager Shoubhik Bandopadhyay Participation & Learning Assistant Claire Barton Development Manager Amy Forshaw Marketing Manager Claire Lampon Marketing & Development Assistant Elizabeth Davies Head of Administration & Finance James Joslin Administrative Assistant Viktoria Mark Finance Assistant Mark Prentice-Whitney Projects Intern (Surrey University Professional Training Placement) Freelance and Consultant Staff Hal Hutchison Concert Manager Lesley Wynne Orchestra Personnel Manager Tony Simpson Lighting Designer Michelle Wright for Cause4 Fundraising Consultant Julie Nicholls Consultant Accountant sounduk Public Relations Fraser Trainer KX Collective Musical Director Paul Griffiths KX Collective Musical Director The London Sinfonietta is grateful to its accountants Martin Greene Ravden LLP and its auditors MGR Audit Limited for their ongoing support.