RCM SYMPHONY ORCHESTRA AND CHORUS HAITINK CONDUCTS RAVEL Saturday 5 November 2016, 7.30pm Amaryllis Fleming Concert Hall
RCM SYMPHONY ORCHESTRA AND CHORUS HAITINK CONDUCTS RAVEL Saturday 5 November 2016, 7.30pm Amaryllis Fleming Concert Hall Bernard Haitink conductor Mark Biggins conductor* Neil Ferris chorus director RCM Symphony Orchestra and Chorus Saint-Saëns (1835–1921)
Calme des nuits op 68 no 1*
(3’)
Saint-Saëns
Les Fleurs et les arbres op 68 no 2*
(2’)
Debussy (1862–1918)
Dieu! qu'il la fait bon regarder!* from 3 Chansons de Charles d'Orléans
(2’)
Duruflé (1902–1986)
Ubi caritas* from Quatre Motets sur des thèmes grégoriens op 10
(2’)
Saint-Saëns
Ave verum*
(5’)
Poulenc (1899–1963)
Exultate Deo*
(3’)
INTERVAL Ravel (1875–1937)
Daphnis et Chloé Part I Introduction et danse religieuse Danse générale Danse grotesque de Dorcon Danse légère et gracieuse de Daphnis Danse de Lycéion Danse lente et mystérieuse des Nymphes Part II Introduction Danse guerrière Danse suppliante de Chloé Part III Lever du jour Pantomime (Les amours de Pan et Syrinx) Danse générale (Bacchanale)
(55’)
The second half of this evening’s performance is being streamed live at www.rcm.ac.uk/live. Join the online conversation before and after the concert via #RCMLive
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Saint-Saëns Calme des nuits op 68 no 1 Saint-Saëns Les Fleurs et les arbres op 68 no 2 Debussy Dieu! qu'il la fait bon regarder! from 3 Chansons de Charles d'Orléans Duruflé Ubi caritas Saint-Saëns Ave verum Poulenc Exultate Deo Camille Saint-Saëns is perhaps best known for The Carnival of the Animals (1886), his lively orchestral celebration of the natural world. Yet his appreciation of nature takes a more introspective quality in these two earlier choral pieces from 1882, both of which are settings of the composer’s own poetry. The first, Calme des nuits, combines the rich harmonies of Orthodox choral music with sweeping romantic lines and neo-classical cadences, as the poet evokes a sense of wonder at the vastness and tranquillity of nature – a common trope in Romantic literature and art at the time. Its counterpart, Les Fleurs et les arbres, joyfully surveys nature’s mountains, oceans and minerals, concluding that its consolation is even greater to a sorrowful heart, as the mood returns to the sombre tones of the opening. From the beauty of nature we turn to female beauty in Debussy’s Dieu! qu’il la fait bon regarder! (1898). Debussy takes a love poem by 15th-century poet Charles d’Orléans, and instils it with a sense of awe-struck wonderment through his distinctive free-flowing tempo and lilting dynamics. In the ever-popular Ubi caritas (1960), Maurice Duruflé transforms a 1000-year-old Gregorian plainchant with radiant contemporary harmonies, which ebb and flow with the motet’s central theme: ‘Ubi caritas et amor, Deus ibi est’ (‘Where charity and love are, God is there.’) The Ave verum text is a fourth-century Eucharistic prayer whose evocation of suffering and consolation has inspired many choral settings throughout the centuries. Saint-Saëns’ version reaches its dramatic climax on the final line of text, which invokes the trial of death. Our exploration of French choral music ends on a jubilant note with Poulenc’s Exultate Deo, composed in 1941. Five years earlier, reeling from the death of a close friend, Poulenc rediscovered his Roman Catholic faith, and many of his subsequent compositions are religious in their subject matter. In this short anthem for eight parts, the opening call for celebration (‘Jubilate deo’) is passed between the vocal lines in a fugue, before all voices join together in praise of God, and the harmony takes an unexpected shift skywards. It seems a fitting end to a programme of unaccompanied music, for the choir to summon the tympanum (drums), cithara (harps), and the tuba (trumpet) – their plea will be answered in Ravel’s Daphnis et Chloé. © Sophie Rashbrook
Ravel Daphnis et Chloé A wordless chorus of hundreds. A full orchestra, complete with wind machine. A fully staged ballet with a stellar creative team. The premiere of Maurice Ravel’s ‘symphonie choréographique’ at the Théâtre du Châtelet on 8 June 1912 was no small-scale affair. Daphnis et Chloé portrays the ancient myth of two young lovers who are separated when Chloé is kidnapped by pirates, but who are joyfully reunited through the intervention of Pan, the god of nature. Ravel uses all the musical artistry at his disposal to evoke a pastoral idyll from antiquity, complete with flute-playing shepherdesses, and one of the most masterful depictions of a sunrise ever composed. Today, it is impossible to ignore the influence of Daphnis on Hollywood film soundtracks, but back in 1912, Ravel took inspiration from the world of literature and art for his ‘vast musical fresco’, describing in letters how he wanted to conjure up ‘the Greece of my dreams’, as painted by French artists at the end of the 18th century. With its intoxicating atmosphere and pagan spirituality, comparisons to Debussy’s Prélude à l’aprèsmidi d’un faune and Rimsky-Korsakov’s Scheherazade are not unfounded: indeed, Daphnis was premiered alongside these two works, and was, to a certain extent, overshadowed by them. It is extraordinary that all three of these musical masterpieces emerged from a single season of the Ballets Russes. This annual residency of Russian dancers in early 20th-century Paris was masterminded by the legendary theatre impresario Sergei Diaghilev. Parisian audiences went wild for the colourful costumes and luxurious music, not to mention the frisson of witnessing the artists of the supposedly ‘barbaric’ East on display. It was Mikhail Fokine’s sexually suggestive choreography, performed by Vaslav Nijinsky, in Debussy’s Prélude which created the first major public outcry against the Ballets Russes. Yet, although comparatively scandal-free, Ravel’s Daphnis explores many similar themes to Debussy’s piece. Rising from the depths of the orchestra, a distant motif echoes in the horns, which is taken up by the wordless chorus, and develops into the Danse religieuse for the young lovers and their fellow shepherds and shepherdesses. Ravel depicts a lighthearted scene, in which a cowherd (represented by three bassoons) and Daphnis (evoked by the flute) vie for Chloé’s attentions, but the young lovers are finally reconciled. A fanfare of horns and trombones signals the arrival of a group of pirates who kidnap Chloé, to the dismay of Daphnis, who prays to Pan for aid. Following the pirates’ riotous ‘Warrior Dance’, the imprisoned Chloé is forced to dance by her captors, in a halting reprise of the love theme played by the violins, with plaintive interjections from the cor anglais. Fortunately, she is rescued by Pan
and his army of satyrs, who return her home. A sublime sunrise, complete with birdsong in the woodwinds, awakens the sleeping Daphnis, who is overjoyed that Chloé has returned. They begin their celebrations by re-enacting the story of Pan’s failed seduction of another nymph, Syrinx, but as Chloé finally falls into Daphnis’ arms, a Danse générale whirls into a frenzy of orgiastic abandon, paving the way for Stravinsky’s Rite of Spring – and the even greater scandal of that premiere – which would emerge from the Ballets Russes the following year. © Sophie Rashbrook Saint-Saëns Calme des nuits Calmes des nuits, fraîcheur des soirs, Vaste scintillement des mondes, Grand silence des antres noirs Vous charmez les âmes profondes. L'éclat du soleil, la gaité, Le bruit plaisent aux plus futiles; Le poète seul est hanté Par l'amour des choses tranquilles.
Stillness of the night, cool of the evening, Vast shimmering of the spheres, Great silence of black vaults Deep thinkers delight in you. The bright sun, merriment, And noise amuse the more frivolous; Only the poet is possessed By the love of quiet things.
Saint-Saëns Les Fleurs et les arbres Les fleurs et les arbres, Les bronzes, les marbres, Les ors, les émaux, La mer, les fontaines, Les monts et les plaines Consolent nos maux.
The flowers and the trees, The bronzes, the marbles, The golds, the enamels, The sea, the fountains (waterfalls), The mountains and the plains Console our pain.
Nature éternelle Tu sembles plus belle Au sein des douleurs, Et l'art nous domine, Sa flame illumine Le rire et les pleurs.
Eternal nature, You seem more beautiful To a heart in sorrow, And art reigns over us, Its flame illuminates the laughter and tears.
Debussy Dieu! qu'il la fait bon regarder! Dieu! qu'il la fait bon regarder la gracieuse bonne et belle; pour les grans biens que sont en elle chascun est prest de la loüer. Qui se pourrait d'elle lasser? Toujours sa beauté renouvelle. Par de ça, ne de là, la mer ne scay dame ne damoiselle
God, what a vision she is; one imbued with grace, true and beautiful! For all the virtues that are hers everyone is quick to praise her. Who could tire of her? Her beauty constantly renews itself; On neither side of the ocean do I know any girl or woman who is in all virtues so perfect;
qui soit en tous bien parfais telle. C'est une songe que d'y penser: Dieu! qu'il la fait bon regarder.
it's a dream even to think of her; God, what a vision she is.
DuruflĂŠ Ubi caritas Ubi caritas et amor, Deus ibi est. Congregavit nos in unum Christi amor. Exultemus, et in ipso iucundemur. Timeamus, et amemus Deum vivum. Et ex corde diligamus nos sincero.
Where charity and love are, God is there. Christ's love has gathered us into one. Let us rejoice and be pleased in Him. Let us fear, and let us love the living God. And may we love each other with a sincere heart.
Ubi caritas et amor, Deus ibi est. Simul ergo cum in unum congregamur: Ne nos mente dividamur, caveamus. Cessent iurgia maligna, cessent lites. Et in medio nostri sit Christus Deus.
Where charity and love are, God is there. As we are gathered into one body, Beware, lest we be divided in mind. Let evil impulses stop, let controversy cease, And may Christ our God be in our midst.
Ubi caritas et amor, Deus ibi est. Amen.
Where charity and love are, God is there. Amen.
Saint-SaĂŤns Ave verum Ave verum corpus, natum de Maria Virgine, vere passum, immolatum in cruce pro homine cuius latus perforatum fluxit aqua et sanguine: esto nobis praegustatum in mortis examine. O Iesu dulcis, O Iesu pie, O Iesu, fili Mariae. Miserere mei. Amen
Hail, true Body, born of the Virgin Mary, having truly suffered, sacrificed on the cross for mankind, from whose pierced side water and blood flowed: Be for us a foretaste in the trial of death! O sweet Jesus, O holy Jesus, O Jesus, son of Mary, have mercy on me. Amen
Poulenc Exultate Deo Exultate Deo, adjutori nostro: jubilate Deo Jacob. Sumite psalmum et date tympanum: psalterium jucundum cum cithara. Buccinate in neomenia tuba: insigni die solemnitatis vestrae.
Rejoice in God our helper: sing aloud to the God of Jacob. Take the psalm and bring hither the timbrel: the merry harp with the lute. Blow the trumpet in the new moon, even on our solemn feast day.
Bernard Haitink Bernard Haitink’s conducting career began 62 years ago with the Radio Philharmonic Orchestra in his native Holland. He went on to be Chief Conductor of the Concertgebouw Orchestra for 27 years, as well as Music Director of Glyndebourne Festival Opera, The Royal Opera, Covent Garden, and Principal Conductor of the London Philharmonic Orchestra, the Staatskapelle Dresden and the Chicago Symphony Orchestra. He is Patron of the Radio Philharmonic Orchestra, and Conductor Emeritus of the Boston Symphony Orchestra, as well as an honorary member of both the Berlin Philharmonic and the Chamber Orchestra of Europe. 2016 marked the 50th anniversary of Bernard Haitink's first appearance at both the BBC Proms and the Lucerne Festival. These occasions were celebrated with the London Symphony Orchestra at the Proms, and both the Lucerne Festival Orchestra and the Chamber Orchestra of Europe in Lucerne. He also toured with the European Union Youth Orchestra, of which he is Conductor Laureate, marking the 40th anniversary of their creation. The 2016/17 season begins with the Berlin Philharmonic and will see him continuing his close association with the Bavarian Radio Symphony, the London Symphony Orchestra, the Chamber Orchestra of Europe, Tonhalle Orchestra Zürich and Chicago and Boston Symphony orchestras. He will also revisit L'Orchestre Nationale de France, Orchestra Mozart, the Royal Concertgebouw Orchestra and conduct Beethoven’s Missa Solemnis with the orchestra and chorus of La Scala, Milan. He is committed to the development of young musical talent, and gives an annual conducting masterclass at the Lucerne Easter Festival. This season he also gives conducting classes to students at the Hochschule der Kunst, Zurich, and leads performances with the orchestra of the Royal College of Music. Bernard Haitink has an extensive discography for Phillips, Decca and EMI, as well as the many new live recording labels established by orchestras themselves in recent years, such as the London Symphony, Chicago Symphony and Bayerischer Rundfunk. He has received many awards and honours in recognition of his services to music, including several honorary doctorates, an honorary Knighthood and Companion of Honour in the United Kingdom, and the House Order of Orange-Nassau in the Netherlands.
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Mark Biggins Mark Biggins is a British conductor with a passion for teaching and education. He currently studies with Peter Stark and Howard Williams at the Royal College of Music where he is supported by an HR Taylor Trust Award and Reintamm Conducting Award. He enjoys working with the RCM Philharmonic and Croydon Youth Symphony and recently assisted Vladimir Jurowski and Martyn Brabbins. In 2016 Mark assisted Martin André at the Cheltenham Festival and Tim Murray at West Green House Opera. Mark previously studied conducting with David Hill at Yale School of Music where he was Music Director at Battell Chapel and a fellow at Saybrook College. An accomplished singer, Mark sang with the Yale Schola Cantorum with whom he toured America, Europe and Asia, recorded extensively, and performed with the New York Philharmonic and Bach Collegium Japan. Mark holds degrees from Cambridge and Yale and is grateful to the Mellon Foundation, the Richard Stapley Educational Trust and Hugh Porter Scholarship for their support. Highlights of this season include an Aldeburgh residency with counter-tenor Lawrence Zazzo and a semi-staged performance of Handel’s Theodora. Neil Ferris Neil Ferris studied at Royal Holloway, University of London, and at the Royal College of Music. He is currently Music Director of Wimbledon Choral Society, and is Guest Conductor of Manchester Chamber Choir, Principal Guest Conductor of Convivium Singers and Prinicipal Guest Conductor of Birmingham Bach Choir. Neil is in demand as chorus master to some of the leading symphonic choruses in the UK. He is Associate Chorus Director of the London Symphony Chorus, Chorus Director at the Royal College of Music and Chorus Master at the Endellion Summer Festival. He has also worked with the BBC Symphony Chorus, BBC National Chorus of Wales and the chorus of Cambridge University Music Society. In these roles he has prepared choirs for internationally acclaimed conductors including Valery Gergiev, Bernard Haitink and Jac van Steen. He was Head of Choral Conducting at the Royal Welsh College of Music and Drama. Neil has also conducted the London Symphony Orchestra, Welsh National Opera, and the period instrument ensemble Florilegium. He made his Royal Opera House debut in 2012 in a ROH2 production of Will Tuckett's ballet The Wind in the Willows. Recordings include an album of the choral music of Jonathan Dove with Convivium Singers and Fauré's Requiem.
RCM Symphony Orchestra The Royal College of Music Symphony Orchestra plays with conductors and musicians of the highest international stature, and is frequently invited to perform in prestigious venues across London and beyond. The orchestra also performs regularly at its home in South Kensington, and its concerts are broadcast live to an international audience via the RCM website. Equally at home in classical, romantic and contemporary repertoire, the RCM Symphony Orchestra enjoys close relationships with some of the world’s most celebrated conductors, including Bernard Haitink, Vladimir Jurowski, Vladimir Ashkenazy and Sir Roger Norrington. Their willingness to return is evidence of the consistently high standards of playing that the RCM orchestral musicians achieve. The members of the RCM Symphony Orchestra are some of the world’s very best young instrumentalists. They have chosen to study at the RCM because of its unrivalled blend of superlative teaching, extensive performance opportunities, and close connections with the orchestral profession. In addition to the many professors who are active professional instrumentalists, the RCM participates in side-by-side and other experience schemes with, amongst others, the BBC Symphony Orchestra, the London Symphony Orchestra, the Orchestra of English National Opera, the Philharmonia and the Royal Philharmonic Orchestra. This enables students to experience professional conditions and achieve professional standards before they graduate. The RCM’s long tradition of high-quality orchestral training has launched the careers of many distinguished orchestral players over several decades. The RCM would like to thank the following orchestral coaches: Zsolt-Tihamer Visontay violin Gaby Lester violin Robert Turner viola Amanda Truelove cello Nicholas Bayley double bass Ben Palmer tutti strings Gaby Lester tutti strings Simon Channing woodwind Byron Fulcher brass David Hockings percussion Bryn Lewis harp Tim Lines wind, brass, percussion & harp Ben Palmer tutti Zsolt-Tihamer Visontay tutti
Violin I Alex Lomeiko Sue Kang* Roberto Ruisi * Yume Fujise* Emmanuel Bach* Anna Lee Naomi Watson* Rosa Hartley Liza Tyun* Emma Purslow* Haim Choi* Helena Yah* Assya Nurzhigitova* Shi Ling Chin* Anna Ziman* Julia Liang* Wei-Ting Wu* Violin II David Lopez Emma Oldfield* Yoon So Cho Leon Keuffer* Cristian Anton Eleonora Consta* Patrizia Lichtscheidl Sophie Phillips Bethan Allmand Yi Lee* Anais Boyadjieva Gabrielle Teychenne Laura Capano Laura Seoane Veiga Anna Tulchinskaya Nadia Vasileva Viola Bryony Gibson-Cornish* May Dolan* Ana Alves* Pippa Bint Marsailidh Groat Hardy* Jenny Key Ana Dunne Sequi* Johan Hoeglind Duncan Commin Lisa Bucknell Rebecca Breen Duncan Anderson
Cello Kieran Carter* Ariane Zandi Donald Robinson* Deni Teo Yaroslava Trofymchuk* Nina Kiva* Lydia Dobson Naomi Tran Haeun Kim Amanda Zhu Meera Raja Tim Burton Bass Philip Nelson* Sam Beck-Johnson Alfie Harries Lucia Polo Moreno* Declan Birchall Thea Butterworth* Lucy Keller Flute Kristin Hammerseth* Catherine Hare* (pic) Jaymee Coonjobeeharry* (pic) Renate Sokolovska* (alto) Oboe Alec Harmon* Myfanwy Price* Anna Seaton* (cor) Clarinet Will Knight* Camellia Johnson Melissa Youngs Elliot Gresty* (bass) Bassoon Justin Sun Matthew Lewis* Emily Newman* Emma Westley (contra)
Horn Anna Euen* Fabian van de Geest* Helena Jacklin* Jacob Bagby* Alexander Oon* Trumpet Adam Stockbridge* Emily Harding* Nick Walker* Peter Athans* Trombone Ross Johnson* David Pitts* James Maund* Tuba Ollie Brooks* Timpani Will Riby Percussion Stefan Beckett* Nick Cowling Kimberley-Anne Foster Tom Hollister Gina Lee* Alex Taylor* Alun McNeil-Watson* Iris van den Bos Jess Wood Harp Rosanna Rolton* Bethan Griffiths Celeste Irena Radic Italics denote section principals.
RCM Chorus The RCM Chorus has been a leading ensemble in the College for many years. The ensemble is the largest at the RCM with around 150 musicians performing together. Following preparation with some of the leading choral trainers, the chorus performs with the RCM Symphony Orchestra to sell-out audiences. The size of the ensemble has enabled the choir to undertake a variety of large-scale repertoire with some of the world’s most celebrated conductors. These have included David Hill for Britten’s Spring Symphony in 2013 and Michael Rosewell for Puccini’s Messa a quattro (Messa di Gloria) in Autumn 2015. Founded in 1882, the RCM moved to its present site on Prince Consort Road in 1894. Illustrious alumni include Benjamin Britten, Ralph Vaughan Williams, Gustav Holst, Dame Joan Sutherland, Sir Thomas Allen, Sir Colin Davis, John Wilson, Alina Ibragimova, Gerald Finley and Sarah Connolly. In addition to its 750 full time students, the College engages dynamically with a wider and more diverse community of children and adults through a dedicated range of creative activities delivered by RCM Sparks’ education and participation projects, RCM Junior Department programme and the Creative Careers Centre. A further development is the growing schedule of live-streamed concerts and masterclasses which can be viewed on www.rcm.ac.uk. The RCM would like to thank the rehearsal pianist Adrianna Stoiber. Soprano Rosina Acosta Anastasia Arapi Izzy Atkinson* Tamara Bakoc Elise Berthelon Issy Bridgeman Jenny Clarke* Jess Edom Mila Ferramosca* Alexandra Fucheck Sophie Gallagher Riley Gallivan Samantha Gaspe Holly Graham* Jane Hammond Auguste Janonyte* Laura Jarrell* Brynn Kee Brianna Kirkland
Anna Landolt* Angela Lau Sarah Le Van Solène Le Van Charlene Lee Eleanor Mackie Beatriz Miranda* Grace O'Malley* Hyo Park Serapina (Sera) Park Hannah Parry* Sonya Pigot Nika Pinter* Shruthi Rajasekar Kathryn Raney Daria Rybak* Emily Scott Rebecca Silverman Colette Spaul Yiyi Su*
Vanessa Tan Olivia Turner Emilia Wieczorkowska Betty Wu Alto Lily Balshan Rebecca Barron Polly Bartlett* Alice Bell Karolína Blažková Sarah Brienza* Mollie Bristow* Ana Bursac* Hattie Butterworth* Anna Byington Lauren Casey-Clyde Yu Chen Tiffany Cheng Olivia Chuang* Erika Clevejarn
Georgie Davis Georgia Dawson Claire Edwards Emma Edwards* Ciara Fagan* Stephanie Frankland Nataly Ganina Maria Grecu* Carys Hall Marion Harache Emily Hill Laura Hocking* Zephany Hoe James Holt* Eri Hunter Alicia Juan* Nivanthi Karunaratne Annabel Kennedy* Erica Lee Sally Lee* Abigail Lorimier* Ler Ler Ma* Lone Meinich Tim Morgan* Geeta Nazareth* Ruby Orlowska Nakyung Park* Sofia Pecina Medina Emma Pelkiewicz* Annie Pham* Mariela Plachkova Lucy Pond Hanan Rahman Olivia Rainoff Kathleen Reeve Vicky Richmond Imogen Ridge* Elizaveta Saul* Stella Sin* Evangeline Tang Shizuku Tatsuno* Emily Turkanik* Mikel Uskola Cobos Samantha Uzbay Gerben Van Der Werf Natalie Van Slyke Fran Warren Lifei Weng* Becca Whitehouse Alma Wilson* Karrie Yip
Yeji Yoon Kristina Yumerska* Xiaodi Zhu Tenor Daniel Bell* Maxence Bretel Ricardo Brown Roger Pierpaolo Casamassima Ken-Ee Choong Henrik Dahlgren Victor Dai* John Faal Will Glenn Matthew Hardy* David Horvat* Nate Klause Seong-Hwan Lee* Jonathan Ma Zac Neal Toshanbor Nongbet Zoe Ronen Tommy Tai Pierre Tate-Lemiere* Alexander Thorsteinsson Adam West* Xue Xie* Bass Dafydd Allen Ivo Almond Artemis Armakolas James Atkinson* Max Beneke Jacob Bettinelli Joe Boon Ashley Brand Oliver Buckland Luke Challinor* Eric Chan Spencer Chapman Andrew Chen Robbie Cheung Mihai Cinca Daniel Collins Adam Cracknell Edward Curtis* Peter Farthing Chris Forbes Patryk Frac Matt Glendening* Lewis Graham* Dylan Gregg
Nathanael Gubler* Max Heaton* Hugo Herman-Wilson* Alistair Hickman Matt House Ismael Jarmouni Edward Jowle* Zacharias Kärnekull Wolfe* Trevor Kowalski Edu Lahham Daniel Lawton* Tsz Lok Leung Eirian Lewis Yiming Li Zijie Liu Alex Maxted* Theodore May* Miles McLeod-Bruce-Jones Jon Mendiguchia Audicana Alexander Miller Toby Morgan Lukasz Niemancewicz* Conall O'Neill Aaron Pryce-Lewis Josh Pyman Merin Rhyd* Gregory Rose Daniel Scott* Patriks Skabardis* Joe Skypala Findlay Spence* Daniel Tancredi* Roelof Temmingh Alex Temple-Heald* Henry Thomas* Max Thomson Philippos Tsiaklides* Edoardo Vella Deronne White* Tom Williams Jun Lin Wu* Personnel correct at the time of going to print. * Scholars/Award Holders generously supported by the RCM
Music has the power to transform lives. Thanks to the generosity of our supporters, generations of gifted students from around the world have been guided and inspired at the RCM. We would like to thank in particular those who have made donations of £1,000 or more in the last 12 months. Gifts are listed in alphabetically in order of surname. Major Supporters Jane Barker CBE* The Estate of Frederick Burgan Karen Cook The Estate of Jocelyn Cruft Mr Peter Dart J Paul Getty Jr Charitable Trust The Robert Fleming Hannay Memorial Charity Mr Rex and Mrs Susan Harbour Henry Wood Accommodation Trust Heritage Lottery Fund Linda Hill HonRCM and Tony Hill* The Estate of Christopher Hogwood* Kingdom Music Education Group Professor Colin Lawson CBE FRCM The Estate of William Mealings Mr Julian Metherell The Mirfield Trust The Polonsky Foundation* Mr Andrew Ratcliffe Geoffrey Richards HonRCM The Estate of Michael Rimmer The Rothschild Foundation Roland Rudd Dasha Shenkman OBE, HonRCM* Alethea Siow and Jeremy Furniss The Peter Sowerby Foundation Bruno Wang Sir Siegmund Warburg’s Voluntary Settlement The Garfield Weston Foundation Bob and Sarah Wigley* Sir David Willcocks Legacy The Wolfson Foundation Supporters Mr Christopher Arnander FRCM The Astor Foundation Sir John Barbirolli Memorial Foundation Biddy Baxter and John Hosier Music Trust Mr Peter Beckwith Guy Black of Brentwood Brooks-van der Pump English Song Prize Sir Anthony Cleaver FRCM and Lady Cleaver The Derek Hill Foundation The D'Oyly Carte Charitable Trust+ George Drexler Foundation Mr Andrew Haigh Ms Lily Harriss Help Musicians UK The Hedley Foundation+ The Hobson Charity Mr Michael Jeans Joaninha Trust Mrs Hanna Klein John Lewis Partnership Mr Peter Lofthouse The Hon Richard Lyttelton Edward Mandel/Jaques Samuel Pianos Bursary Mr Marcus McDonald HonRCM Mrs Philippa Micklethwait Legacy Sir Douglas Morpeth FRCM The Countess of Munster Memorial Trust The Edith Murphy Foundation St Marylebone Educational Foundation The Estate of Billy Newman Ofenheim Charitable Trust
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ORCHESTRAL MASTERWORKS BEETHOVEN’S EROICA SYMPHONY Thursday 10 November 2016, 6pm | Amaryllis Fleming Concert Hall Martyn Brabbins conductor RCM Philharmonic William Mival On the Ringstreet Beethoven Symphony no 3 in E flat major op 55 Eroica Tickets: £5, £8 TCHAIKOVSKY’S PATHÉTIQUE SYMPHONY Thursday 17 November 2016, 6pm | Amaryllis Fleming Concert Hall Martin André conductor RCM Philharmonic Wagner Preludes to Act I & III: Lohengrin WWV75 Tchaikovsky Symphony no 6 in B minor op 74 Pathétique Tickets: £5, £8 BIZET'S CARMEN SUITE NO 1 Friday 16 December 2016, 7.30pm | Amaryllis Fleming Concert Hall Peter Stark conductor Mark Biggins conductor* Rusne Mikiskaite saxophone RCM Philharmonic Bizet Carmen Suite no 1 Villa-Lobos Fantasia for soprano saxophone Chabrier España* de Falla The Three Cornered Hat Suite no 1 Ravel Bolero Pre-concert talk: Join Head of Undergraduate Programmes Dr Christina Guillaumier for an introduction to this evening’s concert at 6.30pm. Tickets: £8, £10 RCM Box Office 020 7591 4314 | www.rcm.ac.uk/events ORCHESTRAL MASTERWORKS SERIES DISCOUNT: Book for 2 or more concerts and save up to 30%