Long Song of Solitude Programme

2021/22 SEASON CONCERT PROGRAMME

LONG SONG OF SOLITUDE Friday 6 May 2022, 7.30pm Queen Elizabeth Hall

LONG SONG OF SOLITUDE Friday 6 May 2022, 7.30pm Southbank Centre’s Queen Elizabeth Hall Claude Vivier Zipangu (1980) Nicole Lizée The Seeds of Solitude (London Sinfonietta commission, world premiere) Interval Claude Vivier Lonely Child (1980) Claire Booth soprano Ilan Volkov conductor Simon Hendry sound design Royal Academy of Music Manson Ensemble 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.

The work of the London Sinfonietta is supported by the John Ellerman Foundation. This concert is produced by the London Sinfonietta and supported by the Southbank Centre, with the friendly support of the Ernst von Siemens Music Foundation. The Seeds of Solitude is supported by the Canada Council for the Arts. Tonight’s concert is additionally supported by the Quebec Delegation in London and the High Commission of Canada in the United Kingdom.

WELCOME Welcome to tonight’s concert.

It’s an honour to open this weekend of events at Southbank Centre dedicated to the Canadian composer Claude Vivier and a great pleasure to welcome back Ilan Volkov and Claire Booth to perform his music with us.

We are also hugely proud to be working again with the Royal Academy of Music Manson Ensemble. Over the past years we have staged together some extraordinary works of the postwar period, bringing musical highlights to the cultural calendar of London and the UK. We trust the experience of working alongside the experienced London Sinfonietta Principals has a powerful positive influence on the upcoming careers of these hugely talented RAM students.

We are very grateful to the Canada Council for the Arts for providing the funds for Nicole Lizee’s commission, which we are very excited to be playing, adding to the many new works we have been able to commission and perform this season. We are also grateful to the Quebec Delegation, High Commission of Canada and Southbank Centre for funding to help stage this project. Finally we are grateful to the Arts Council and all our other supporters whose funding underpins the wide range of work of the London Sinfonietta which you can read about in this programme book. If you would like to join them, and support commissions, projects or performances, we would be very happy to hear from you.

Andrew Burke Chief Executive and Artistic Director

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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

VIVIER: IMMORTALITY OF THE SOUL soloist with choirs, brass, percussion and electric organs. For Vivier, following the rehearsals ‘revealed the very essence of musical composition, and brought about a sort of baring of my soul’. In December 1972 he began a work he would think of as his opus one: Chants, for seven women singing.

For his music, Claude Vivier lived a dangerous existence, driven by love and sex to the death he encountered in 1983 at the age of 34. It had to be so. Music in the western classical tradition, he felt, was conditioned by the conventional attributes of maleness: determination, purposefulness, independence. His own music – gay music – would be different. It would hover; it would glisten; it would be stationary.

For various reasons – including the isolation of French Canadian musical life – this music did not have much of a hearing during his lifetime. But that is changing now, especially with performances around the world of his Lonely Child, a piece as simple as a nursery rhyme, as tragic as a Mahler adagio, as formal as a nō play.

Vivier was born on April 14, 1948, in Montreal, and put into an orphanage. He never knew his natural mother: that was the first big fact in his life. The second – the fact of his homosexuality – emerged during his schooldays, and caused him no embarrassment. He seems to have had no anxieties about coming out, because he was never in. After graduating from the Montreal Conservatory, in 1971, he went to Cologne to study with Stockhausen, who was working on a new version of his Momente, an exuberant festival of love and music for a cheerful soprano

Chants started with a visionary night, as Vivier's works seem often to have done. ‘My whole life unfolded before me, allowing me to glimpse in filigree the face of a sad child who would have liked to express something grandiose, and who had not yet been able to do so. These memories tumbled together into a bizarre dream: in a great cathedral there were three tombs; one of them broke open; I ran to alert the priest. This good old man spoke to the dead person who came out of the tomb, and who strangely changed into a white eagle, which seized me in its immense talons to carry me over the earth.’ Typically untroubled by all this news from Eros and Thanatos, he set about making the dream a reality, ‘a veritable ritual of death’ for ‘three women in the presence of death and their three shades’, the seventh voice being his own, that of the sad child.

The result was amniotic music – music that floats in the gentle, warm support of static harmonies, that babbles with the syllables of the ‘invented language’ Vivier used in all his subsequent vocal works (which means the great majority of his works altogether), and that hears almost nothing outside women's voices and odd percussive knocks. This was the piece in which he began to teach his music about what mattered to him: the hope for purity, the fear and lure of death. It pointed the way in which he would go.

He returned to Montreal, and said he was no longer thinking of the future, nor of the past, but of ‘a sort of vanished present, a sort of

impalpable joy mixed with the sadness of a child who has lost his mother’. This image was to recur in his music, not least in Lonely Child. The personal relevance is obvious. His knowledge of his adoption had allowed him to ‘make up my origins as I wished, pretend to speak in strange languages’. Here surely is one of the origins of his ‘invented language’ – of such phrases as ‘kuruk-shé-tra’ and ‘pu-ru-sha-ti-ca-se’ that calmly interpose themselves among the words of the Divine Comedy in his Lettura di Dante of 1974.

The idea of an alternative, better present – which would have to be an absent present – was also to become important in his musical theorizing. A late note, written half a year before his death, asks: ‘What does music provide, if not a disposition into “historical” time of an opening into another temporality? Music rends historical time and, for brief moments, shows us the beyond-time, ambiguous flow of musical space.’

‘That's why,’ as he wrote on another occasion, ‘people construct their time machines known as music.’

However, for him to make his own vessels timetight would take a little while and a long journey through Asia in 1976-7. First he visited Japan; then he spent several weeks on Bali, which gave him ‘a lesson in love, in tenderness, in poetry, and in respect for life’. While still there he had said: ‘I absolutely don't want to write Balinese music!’ Once back, though, he found it hard to resist exactly that. Pulau Dewata (The Island of the Gods) is Bali come to Montreal, and in other works composed soon after his return he tried for a Balinese integration of music and dance in ritual.

The music became more interesting as the memories dimmed, and sank to a deeper musical level. Shiraz for piano, written in 1977, suggests by its speed and fracturedness it a facetted jewel: the eponymous town, which Vivier had visited on his way back from Bali, he described

as ‘a pearl of a city, a roughly cut diamond’, and he included in the dedication of the piece ‘two blind singers I followed for many hours in the market place’.

He had always identified himself with the rejects and misfits of society. The chamber piece Greeting Music of 1978 was intended as a salutation to the growing numbers of people living on the streets, besides being an exploration into the strange world of high-treble harmony: overtones on strings, sounds sung into the flute, whistling. In this harmonic world, as he was evidently aware, the abrasion of frequencies on each other can produce ghostly lower pitches, and natural harmonics can interfere with tones played in the equal temperament that western music has made normal; sound becomes misted, iridescent.

Then in 1980 came the breakthrough: Lonely Child. The harmonic auras are suddenly more complex, and the fantastic orchestration is unlike anything in Vivier's earlier music, or anyone else's. Perhaps he found it by listening intently to bells and gongs, for the huge chords that march along with – around – the voice in Lonely Child commonly have deep fundamentals with a fizz of interfering higher tones, rather as metallic resonances do. Vivier's own explanation, though, was in terms of his spiritual quest: ‘This urge for purity, it's created a style of its own.’

Purity, he seems to have felt, entailed polishing the music with his preoccupations until it would shine. Lonely Child moves that way on the level of its text, which is intimately personal in being partly the lullaby of an idealized mother, partly a prayer to the Virgin Mary, partly a love song addressed to the boy in Death in Venice. But where these urgings might imply a deep holycarnal sentimentality, the work is redeemed by its candid gaze. It sounds innocent – a voice we have not heard before, and could not have expected. It evades camp. Everything in this music is open to view: the slow melody, and the

VIVIER: IMMORTALITY OF THE SOUL wide chords that chime with each note.

During the year and a half after Lonely Child, Vivier wrote a group of works centred on the figure of Marco Polo: Prologue pour un Marco Polo (more suite than overture, consisting of eight linked scenes devised for radio performance), Zipangu for string orchestra (named after the Japan that was, for Polo, unreachable), the wordless love song Bouchara, and Samarkand, a big slow movement for wind quintet and piano. ‘I have the impression,’ Vivier said, ‘that Marco Polo is above all one who has tried to say something and has not succeeded. I find that, as an image, quite desperate.’ It is moving to find Vivier still feeling this, just as he was musically coming into his own. But listening to heaven's time had to be a hope ultimately frustrated as long as the hoper remained alive.

In June 1982, soon after finishing the Marco Polo sequence, Vivier went to Paris. Most of his Canadian friends never saw him again. The letters he wrote back, however, give us windows into his life during the nine months that remained. In July comes the first idea for ‘a dramatic work without subject, where the drama would be the music itself’. By August he was composing Trois Airs pour un opéra imaginaire, which he felt represented a stage he had to get through before he could write the new opera. In September he heard Mahler's Seventh Symphony at a concert, and reported that: ‘Mahler is perhaps the musician to whom I feel closest – an exacerbated sensibility, schmaltz, and at the same time profound desire for purity, but for a purity that's almost libidinal.’ Relevant here is his intuition that he might be Jewish himself, and his horror at the racism he found in Paris directed against Jews and North Africans.

The next month he announced definite operatic plans: the work would have the form of a Requiem mass, out of which would come scenes from the martyrdom of Saint Sebastian and from

another martyrdom, Tchaikovsky's. By November he was planning a Dies irae, presumably related to, or part of, the Tchaikovsky-Sebastian opera.

Meanwhile, he was living ever more dangerously, as Philippe Polini, a Canadian video artist who was also in Paris, recalls: ‘It was very frenetic, but with an energy that doesn't go towards life: it goes towards death, somehow provoking death.’

More testimony to the danger and chaos of his life at this time comes almost certainly in the pages of Christopher Coe's novel Such Times, for there is compelling evidence to identify Vivier with the composer Claude of that book. What really clinches it is the laugh. Everyone who knew Vivier remembers his laugh: ‘Very loud, very Mephistophelean’, as one witness described it. And this is the first sound that greets us from Claude in Such Times: ‘He let out the highest, most out-of-control laugh I had ever heard....It was the laugh of someone who probably didn't care much, or at all, about what people in a place like this thought of him. Or it was the laugh of someone who doesn't know how to laugh.’

Not knowing how to laugh, Vivier had discovered how to sing. In early January he made a last attempt to escape his fate, writing of his wretchedness at having ‘nobody to telephone when I compose, nobody to confide in, nobody with whom I can talk about my anguish of spirit’.

Parisians he found cold; most of his fellow composers were useless; he would come back to Montreal in April or May. Only four days later, however, he could write reassuringly that ‘the crisis has quite passed’, and that he had completed six minutes of his new piece, which was now not a Dies irae but had the title Glaubst du an die Unsterblichkeit der Seele? (Do you believe in the immortality of the soul?).

‘You know that this year in Paris has been vital for me’, he wrote in another letter. ‘I'm maturing at an absolutely phenomenal speed, and the music I'll write – in particular my opera – will

have a human meaning that no music has been able to achieve until now....I must compose on the hoof, give human beings a music that will prevent them once and for all from making war.

A phrase comes to my mind: “It's my own death I will celebrate.” I don't know why, it seems to me I want to conquer death on its own ground, make it the liberator of beings open to eternity, give humans such a music that their consciousness spills directly into eternity without passing through death, without paying tribute to the old Ferryman of Acheron!’

Such hopes. They were the hopes they had always been: to counter the aggressiveness written into the conventional role of the male, to feel the silent pulse of heaven. They were hopes that could only be entertained by one who was risking a martyrdom of his own – one who was, according to Philippe Polini, spending his nights drinking heavily, having lots of partners, not asking questions, and behaving that way in preparation for the next day's work on Glaubst du.

ZIPANGU “Zipangu” was the name given to Japan at the time of Marco Polo. Within the frame of a single melody I explore in this work different aspects of color. I tried to “blur” my harmonic structure through different bowing techniques. A colorful sound is obtained by applying exaggerated bow pressure on the strings as opposed to pure harmonics when returning to normal technique.

A melody becomes a color (chords), grows lighter and slowly returns as though purified and solitary.

Claude Vivier

LONELY CHILD

‘Listen to me, listen to me!’ says a tenor near the start of the piece. ‘You know I always wanted to die for love but...how strange it is, this music that does not move.’ ‘Speak,’ says a contralto, and the tenor goes on: ‘I never knew – .’ ‘Knew what?’ ‘Knew how to love.’ The contralto then asks him to sing a love song, and one follows – in the ‘invented language’, as usual. But it fades away, and the voices turn to what sounds even more alarmingly like autobiography. The narrator is attracted to a young man on a Métro train, who sits down next to him, introduces himself, pulls out from his black jacket a dagger, ‘and thrusts it right into my heart.’ There the score ends. On March 12, 1983, Vivier was found in his apartment, where he had lain dead for five days.

There were forty-five knife wounds in his body.

Lonely Child is a long song of solitude. For the musical construction I wanted to have total power for expression, for musical development on the piece I was composing without using chords, harmony or counterpoint. I wanted to work up to very homophonic music that would be transformed into one single melody, which would be “intervalized.” I had already composed a first melody heard at the beginning of the piece for dancers. I subsequently developed this melody in five “intervalized” melodic fragments that is by adding one note below each note, which creates intervals—thirds, fifths, minor seconds, major seconds etc. If the frequencies of each interval are added, a timbre is created.

Thus, there are no longer any chords, and the entire orchestra is then transformed into a timbre. The roughness and the intensity of this timbre depends on the base interval. Musically speaking, there was only one thing I needed to control, which automatically, somehow, would create the rest of the music, that is great beams of color!

© Paul Griffiths

Claude Vivier

BIOGRAPHIES

NICOLE LIZEE Called “a brilliant musical scientist” (CBC), “breathtakingly inventive” (Sydney Times Herald, Australia), and lauded for “creating a stir with listeners for her breathless imagination and ability to capture Gen-X and beyond generation” (Winnipeg Free Press), award winning composer and video artist composer Nicole Lizée creates new music from an eclectic mix of influences including the earliest MTV videos, turntablism, rave culture, Hitchcock, Kubrick, Alexander McQueen, thrash metal, early video game culture, 1960s psychedelia and 1960s modernism. She is fascinated by the glitches made by outmoded and well-worn technology and captures these glitches, notates them and integrates them into live performance.

Nicole’s compositions range from works for orchestra and solo turntablist featuring DJ techniques fully notated and integrated into a concert music setting, to other unorthodox instrument combinations that include the Atari 2600 video game console, omnichords, stylophones, Simon™, vintage board games, and karaoke tapes. In the broad scope of her evolving oeuvre she explores such themes as malfunction, reviving the obsolete, and the harnessing of imperfection and glitch to create a new kind of precision.

The Seeds of Solitude is a series of three short films of speculative fiction in which two isolated characters find themselves having to deal with unusual events. The series references themes of paranoia, voyeurism, nostalgia, insomnia, hypnotic states, and communicating with the dead (referring to the suggestion that Claude Vivier was seeking to communicate with his deceased mother via his music).

The piece is further treated as a distorted operatic or musical theatre work (alluding to Vivier’s rethinking of opera and musical theatre) wherein the solo vocal material is provided on screen through tones and inflections scrubbed from the video characters and the Foley.

The title is taken from the second episode wherein the character inexplicably receives seeds in the mail along with instructions to plant them. She does - with unexpected results.

Thanks to Andrew Burke and the London Sinfonietta for commissioning the piece and the Canada Council for the Arts for generously funding the commission.

Nicole Lizée

ILAN VOLKOV

CLAIRE BOOTH

conductor

soprano

Since his prodigious breakthrough as Assistant Conductor of the Boston Symphony Orchestra at the age of 19, Ilan Volkov has matured into a versatile conductor whose interpretations of familiar repertoire are sought after internationally. He enjoys a long-standing relationship with BBC Scottish Symphony Orchestra, as Principal Conductor from 2003 and Principal Guest Conductor since 2009. The 202223 season will see the start of Volkov’s tenure as Principal Guest Conductor with the Brussels Philharmonic.

“An actor-singer who can raise the dramatic heat as soon as she enters the stage” (Opera Now), “that most questing, resourceful and intelligent of sopranos” (Daily Telegraph), British soprano Claire Booth has been widely acclaimed for her “radiant, rapturous, wonderfully nuanced performances” and voice of “piercing purity [and] luscious richness” (The Scotsman). She is renowned for her breadth of repertoire, and for the vitality and musicianship that she brings to the operatic stage and concert platform, with a versatility that encompasses repertoire spanning from Monteverdi and Handel, through Rossini, Berg and Britten, to a fearless commitment to the music of the present day.

A musical omnivore, Volkov also serves as a dynamic figurehead of the international contemporary music scene. He launched the Tectonics Festival in 2012, which has since become one of the world’s most diverse and acclaimed celebrations of new music, with festivals in Adelaide, Oslo, New York, Tel Aviv, Krakow, Athens, Glasgow and Reykjavík. In 2020 he co-founded the I&I Foundation with Ilya Gringolts to support the development and performance of new music.

Volkov’s repertoire with a variety of ensembles spreads far and wide, and he often appears at the world’s foremost festivals, such as Salzburg, Edinburgh, BBC Proms, Lucerne, Unsound Krakow, Musikprotkoll and Berlin.

Booth’s performances in 2019 and 2020 provided a perfect showcase for her multifaceted vocal skills and interests, including the title role in Handel’s Berenice for the Royal Opera House’s first production of the opera since its 1737 Covent Garden premiere, and Nitocris in Handel’s Belshazzar for the Grange Festival, critically acclaimed recordings of songs by Grieg and Percy Grainger, performances of Tippett’s A Child of Our Time with the City of Birmingham Symphony at Hamburg’s Elbphilharmonie, George Benjamin’s A Mind of Winter with the Hong Kong Philharmonic, and the world premiere of Alex Woolf’s A Feast in the Time of Plague for Grange Park Opera.

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).

STAY IN TOUCH Whatever your interest in new music – as a composer, performer, teacher, student, amateur musician, or as an audience member interested in contemporary arts – we welcome you to our community.

Sign up to our mailing list to receive: • A fortnightly newsletter with concert information, announcements and digital content • Open calls for composers, musicians and public participants • Advance news of projects, recording releases and commissions To stay in touch, please sign up to our e-list: londonsinfonietta.org.uk/sign-up Or find us on social media by searching London Sinfonietta

ROYAL ACADEMY OF MUSIC: MANSON ENSEMBLE The Manson Ensemble is the Academy’s specialist contemporary music ensemble. Its first concert was at the Aldeburgh Festival in 1968, and it plays regularly at the Academy and in festivals around the UK. Since its foundation, the ensemble has collaborated with composers including Berio, Boulez and Messiaen in the early days and, more recently, Hans Abrahamsen, Eleanor Alberga, Tansy Davies, Andrew Norman and Anna Thorvaldsdottir.

Other highlights include performing and recording the music of Frank Zappa as part of a Roundhouse/Zappa Family Trust festival and the Chicago Symphony Orchestra’s Beyond the Score – A Pierre Dream with Susanna Mälkki at the Aldeburgh Festival. CD recordings include Stravinsky’s The Soldier’s Tale, conducted by Oliver Knussen and with George Benjamin, Harrison Birtwistle and Harriet Walter narrating.

Since 2002, the Manson Ensemble has undertaken a major series of side-by-side projects with the London Sinfonietta, including the UK premiere of Nono’s Prometeo, and performances of Stockhausen’s Gruppen, Hymnen and Donnerstag aus Licht, and Thomas Adès’s In Seven Days at the Royal Festival Hall.

The Royal Academy of Music moves music forward by inspiring successive generations of musicians to connect, collaborate and create. It is the meeting point between the traditions of the past and the talent of the future, seeking out and supporting the musicians today whose music will move the world tomorrow.

TONIGHT’S PLAYERS Philippa Davis flute Ieva Kupreviciute† piccolo Melinda Maxwell oboe Emily Stephens† oboe Timothy Lines clarinet Leo Kerr† clarinet Emily Hultmark bassoon Ryan Delgado Barreiro† bassoon Timothy Ellis horn Benjamin Hartnell-Booth† horn Christian Barraclough trumpet David Hockings* percussion Oliver Lowe percussion Robert Wills† percussion Siwan Rhys piano Simon Blendis leader Hilaryjane Parker violin Rebecca Dinning violin Takane Funatsu violin Alice Barron violin Ellie Fagg violin Isobel Howard† violin Rodrigo Checa Lorite† violin Guo Yu† violin Jose Cabrita Matias† violin Mitzi Gardner† violin Paul Silverthorne* viola Fiona Winning viola Edgar Francis† viola Clement Pickering† viola Lionel Handy cello Juliet Welchman cello Shannon Ross† cello Adam Wynter double bass James Trowbridge† double bass *London Sinfonietta Principal Player †Royal Academy of Music Manson Ensemble

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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, 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, 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, The Nugee Foundation, PRS for Music Foundation, Rainbow Dickinson Trust, RVW Trust, Stanley Thomas Johnson Foundation, Steven R. Gerber Trust, Summerfield Charitable 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 Lucy de Castro 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 McLaren-Turner) 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) 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 Holly Cumming-Wesley Head of Concerts & Production Natalie Marchant Head of Concerts & Production (maternity leave) Rhuti Carr Head of Participation & Learning Aoife Allen Participation & Learning Producer Phoebe Walsh Marketing Manager Isaku Takahashi Marketing Officer 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 Megan Russell Event Producer WildKat PR The London SInfonietta is grateful to its auditors and accountants MGR Weston Kay LLP.

2022/23 SEASON AT THE SOUTHBANK CENTRE

XENAKIS: ARCHITECT OF SOUND An exploration of Xenakis' elemental and futuristic soundworld in his centenary year Sat 8 Oct, Queen Elizabeth Hall

Concerts on sale from Thursday 5 May, for full details and to book visit londonsinfonietta.org.uk or southbankcentre.co.uk

PENDERECKI: A RETROSPECTIVE Celebrating the Polish composer's 70-year, genre-spanning career Thu 3 Nov, Royal Festival Hall

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SLEEPING PATTERNS A hypnotic and mesmerising new work from Lithuanian composer Juste Janulyte Fri 2 Dec, Queen Elizabeth Hall

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