22 January concert programme - Joshua Bell, Steven Isserlis & ASMF

JOSHUA BELL STEVEN ISSERLIS Friday 22 January

Fine Violins Since 1892

Managing Directors Simon Morris & Steven Smith are proud to support the Academy as their 2015-16 programme sponsor

With best wishes for another wonderful season.

Antonio Stradivari, Cremona, 1731

Directors: Simon Morris and Steven Smith 30 Queen Anne Street, London, W1G 8HX 44 (0) 20 7307 9666 | violins@beares.com | www.beares.com

WELCOME TO THIS EVENING’S CONCERT

The centrepiece of this evening’s programme, Brahms’ Double Concerto, is a work that grew out of another great friendship: that of Johannes Brahms and the leading violinist of the age, Joseph Joachim. Following an extremely messy falling out over Joachim’s bitter separation from his wife, this beautiful musical conversation between violin and cello was the vital catalyst for reconciling the pair. Our theme of friendship continues with the second movement of Schumann’s Violin Concerto: the version you’ll be hearing tonight is completed by a codetta

by Benjamin Britten, written for a memorial service after the tragic death of Britten’s close friend, the legendary horn player Dennis Brain. This movement, from what I feel is a greatly underappreciated Violin

Photo: Phil Knott

I

hope you all enjoyed a wonderful festive season spending quality time with friends and family, and are here feeling refreshed and invigorated for the year ahead.

On the subject of friends and family, tonight I am delighted to be performing alongside a great friend, Steven Isserlis, and the Academy, which I regard as my own musical family. I met Steven nearly 30 years ago at the Spoleto Festival in the US and we immediately hit it off. Despite living on opposite sides of the Atlantic, we have continued to perform together regularly, and since becoming Music Director of the Academy I have been eager to schedule a tour with Steven – which, following performances all around the UK and Europe, has brought us to Cadogan Hall tonight.

Concerto, features one of the most gorgeous melodies in the violin repertoire.

I hope you enjoy our performance tonight, and that we’ll see you again before the end of our 2015/16 season. In particular I encourage you to join the orchestra at St Martin-in-the-Fields on 16 February, when Academy principals Robert Smissen, Stephen Orton and Martin Burgess join guest leader Simon Blendis and former Academy bassist Leon Bosch as soloists, showcasing the kind of remarkably talented individuals that make up the Academy of St Martin in the Fields.

Joshua Bell Music Director

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V I L L A M A R I A E S TAT E . C O . U K

CADOGAN HALL THE BARBICAN

ETIQUETTE

ACCESS

Smoking: All areas of Cadogan Hall are non-smoking areas.

Food & Beverages: You are kindly requested not to bring food and other refreshments into Cadogan Hall.

Cameras and Electronic Devices: Video equipment, cameras and tape recorders are not permitted. Please ensure all pagers and mobile phones are switched off before entering the auditorium.

Interval and timings: Intervals vary with each performance. Some performances may not have an interval. Latecomers will not be admitted until a suitable break in the performance.

Consideration: We aim to deliver the highest standards of service. Therefore, we would ask you to treat our staff with courtesy and in a manner in which you would expect to be treated.

Cadogan Hall has a range of services to assist disabled customers including a provision for wheelchair users in the stalls. Companions of disabled customers are entitled to a free seat when assisting disabled customers at Cadogan Hall.

Please note that companion seats not sold 48hrs prior to any given performance will be released for general sale.

Wheelchair Users: If you use a wheelchair and wish to transfer to a seat, we regret we may not be able to provide a member of staff to help you physically. However, we will arrange for your wheelchair to be taken away and stored. A lift is located to the right once inside the box office reception allowing access to a lowered box office counter. Foyer areas are on the same level as the box office and the foyer bar (Caversham Room) is accessed via a wide access lift. A member of staff will help you with your requirements. Stalls are accessed via a wide lift as are adapted toilet facilities. Please note that there is no wheelchair access to the Gallery seats.

FOOD AND BEVERAGES

Culford Room: The house wines, champagne and soft drinks are available from the bars in the Culford Room at all concerts.

Oakley Bar: Concert goers may enjoy a wide selection of champagnes, spirits, red and white wines, beers and soft drinks from the Oakley Room Bar. There are also some light refreshments available.

Gallery Bar: Customers seated in the Gallery can buy interval drinks from the Gallery Bar at some concerts.

BOOKING INFORMATION

Box Office: 020 7730 4500 Online Booking: www.cadoganhall.com (booking fees apply) 5 Sloane Terrace, London SWIX 9DQ

VIOLIN I

VIOLA

FLUTE

HORN

Joshua Bell

Robert Smissen

Michael Cox

Timothy Brown

Harvey de Souza

Fiona Bonds

Sarah Newbold

Susan Dent

Katie Stillman

Ian Rathbone

Miranda Playfair

Rebecca Low

Catherine Morgan

Stephen Stirling

OBOE

Amanda Smith

CELLO

Helen Paterson

Stephen Orton

Jeremy Morris

William Schofield

CLARINET

Judith Herbert

James Burke

Cara Berridge

Emma Canavan

Gabrielle Painter

DOUBLE BASS

BASSOON

Matthew Ward

Lynda Houghton

Graham Sheen

Helena Smart

Markus van Horn

Gavin McNaughton

VIOLIN II

Rachel Ingleton

Clare Hayes

TRUMPET Mark David

Jenny Godson

Mark Butler

Joanna Hensel

Richard Simpson

Tony Cross

TIMPANI Adrian Bending

ORCHESTRA MANAGER Helen Fitzgerald

PROGRAMME & ORCHESTRA 22 January 2016 Director and Soloist: JOSHUA BELL (violin) Soloist: STEVEN ISSERLIS (cello) Dvořák Waldesruhe arr. for cello and orchestra, B.182 Beethoven Symphony No. 8 in F major, Op. 93 Interval – 30 minutes Schumann Violin Concerto, mv. II (codetta by Britten)* Brahms Double Concerto in A minor, Op. 102

VIOLIN I

VIOLA

FLUTE

HORN

Joshua Bell

Robert Smissen

Matthew Featherstone

Timothy Brown

Harvey de Souza

Fiona Bonds

Sarah Newbold

Emma Whitney

Gabrielle Painter

Ian Rathbone

Katie Stillman

Alex Koustas

Robert Salter

Stephen Stirling

OBOE

Fiona Brett

CELLO

Amanda Smith

Stephen Orton

Mark Butler

William Schofield

CLARINET

Juliet Welchman

James Burke

Rowena Calvert

Thomas Lessels

Helena Smart

DOUBLE BASS

BASSOON

Matthew Ward

Lynda Houghton

Paul Boyes

Clare Hoffman

David Stark

Graham Hobbs

VIOLIN II

Joanna Hensel

Christopher Cowie Rachel Ingleton

TRUMPET Mark David

Jennifer Godson

Imogen Hancock

TIMPANI Adrian Bending

Raja Halder Richard Milone

ORCHESTRA MANAGER Helen Fitzgerald

CHAIR PATRONS Harvey de Souza

Stephen Orton

Christopher Cowie

Mark David

Chair supported

Chair supported

Chair supported

Chair supported

by Trevor Moross

by Elizabeth Bennett

by Paul Aylieff

by Charlie Dart

* performances are given with the permission of the Britten Estate Ltd.

A MESSAGE FROM CLASSIC FM’S ALAN TITCHMARSH AS THE UK’S ONLY RADIO STATION DEDICATED TO PLAYING NOTHING BUT CLASSICAL MUSIC, 24 HOURS A DAY, WE’RE DELIGHTED TO BE ABLE TO CALL JOSHUA BELL AND THE ACADEMY OF ST MARTIN IN THE FIELDS CLASSIC FM’S ARTISTS IN RESIDENCE.

A

t Classic FM, we have a mission to make classical music accessible and relevant in today’s modern lifestyle.

With around 5.6 million listeners this gives us a great opportunity not only to share classical music with a very broad audience on the radio, but also to encourage people to experience this music live in concert. And there are few places better to do that than here at London’s Cadogan Hall with music from some of the British public’s favourite classical composers.

Several of the works you’ll hear tonight are regularly played on Classic FM, and it will be an extra treat to hear two truly world-class string players, Joshua Bell and Steven Isserlis, alongside the Academy, performing these well-loved pieces tonight.

I’m delighted to let you know that we’re recording this evening’s performance, and you will be able to hear it again on Classic FM on Friday 12th February, in the second of three Academy concerts being broadcast as part of our very special partnership.

If you’d like to find out more about the exciting plans we have to develop our partnership with our Artists in Residence, do take a look at our website ClassicFM.com.

And I hope you’ll be able to join me tomorrow morning from 9am, when I’ll be playing some of Joshua and the Academy’s fantastic recordings.

Alan Titchmarsh Presenter, Classic FM

PROGRAMME NOTES PROGRAMME NOTES

Antonín Dvořák (1841–1904) The great conductor Hans von Bülow once affectionately described Dvořák as ‘the peasant in a frock-coat’, and he was right because no matter how much fame and fortune was heaped upon Dvořák’s shoulders, he remained a man of the people at heart and proudly true to his working class origins (his father was an innkeeper and originally wanted his gifted son to train as a butcher). Dvořák’s music combines the sophistication of classical techniques with a refreshing naivety and innocence.

Although he considered his 14 operas to be his greatest achievement, he is celebrated principally today for his symphonies, string quartets and Slavonic Dances.

Waldesruhe B.182 (arr. cello and orchestra) (1883, rev.1893) It is an indication of just how far Dvořák’s fame had spread since his parochial beginnings that in June 1891 he was invited by millionairess Jeanette Meyers Thurber to become Director of New York’s National Conservatory of Music. What could easily have turned out to be little more than a pleasant sojourn resulted in something of a golden period for Dvořák.

Not only did he make a tidy sum of money

(despite Thurber’s husband coming close to bankruptcy during his time there), but he also took the opportunity to visit some of the tourist spots, including Chicago to see the World Exhibition and Niagara Falls.

Most importantly, he composed a series of radiantly inspired works, including his Ninth Symphony ‘From the New World’, the ‘American’ String Quartet, the ‘American’ String Quintet, Cello Concerto and a haunting arrangement of the wistfully reflective Waldesruhe (‘Silent Woods’).

The great Catalan cellist Pablo Casals once described the cello as ‘like a beautiful woman who has not grown older, but younger with time, more slender, more supple, more graceful.’ It is this tantalising combination of youth and wisdom, of strength and grace that lies at the very heart of the cello’s unique expressive soundworld as encapsulated in Waldesruhe. This originally began life in 1883 as the fifth of a set of piano duet pieces entitled From the Bohemian Forest and became so popular that Dvořák later arranged it for cello and piano shortly before leaving for the New World, and then for cello and orchestra (dated 28 October 1893) during his stay there. Cast in ABA form, with an intermezzo-like central section, Dvořák’s original title for the piece was Ruhe (‘Silence’). The more poetically evocative Waldesruhe was hit upon by his publisher Fritz Simrock, who published the first edition of both arrangements following the composer’s celebrated return to Bohemia in 1894.

Ludwig van Beethoven (1770-1827) Beethoven was the single most influential figure in the history of Western music. Starting out with Mozart and Haydn as his spiritual mentors, he wrestled off the shackles of late-eighteenth century Classicism, forging uncompromising musical landscapes with a visionary intensity that left most musicians quavering in his wake. Even his most enlightened supporters often had little idea what he was up to as he pulverised the relatively primitive instruments of his time into submission. Yet not even the cruel onslaught of deafness could silence his noble creative spirit as he redefined the symphony’s expressive parameters, changing the face of music forever.

Symphony No. 8 in F major, Op. 93 (1812) I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace The Eighth Symphony was written while Beethoven was simultaneously embroiled in a domestic skirmish. Discovering that his younger brother Johann intended to marry below his social status (he had fallen in love with his housekeeper, Therese), Beethoven hastened to Linz in a

desperate attempt to prevent the match, and at one point even tried to get the police to intervene – all to no avail. Yet the symphony turned out to be one of the most irrepressibly bright and carefree works he ever penned.

The Eighth is a compact, meticulously balanced symphony that wears its scholarship lightly and as a result tends to be undervalued when compared to the indomitable presence of the works that lie either side of it. When Beethoven’s pupil, piano virtuoso and composer Carl Czerny, untactfully observed that it was much less popular than the Seventh with audiences, Beethoven responded with the classic putdown: ‘That’s because it is so much better!’

Storm-clouds occasionally pass over the Eighth’s outer movements, although the overwhelming impression throughout is of unquenchable optimism and energy. The vigorously upbeat opening Allegro delights in unexpected harmonic side-steps, including a sleight-of-hand move into D for the second theme which Beethoven swiftly ‘corrects’ to the expected dominant C. This is followed by a delightful, tick-tocking Allegretto scherzando, written in homage to the inventor of the musical metronome, Johann Maelzel. The third movement hilariously combines the sophistication of an old-style minuet with the peasant gait of a rustic Ländler (a type of slow waltz), leading to a scampering finale in which the ideas virtually fall over one another in their insatiable desire to be heard.

PROGRAMME NOTES

Robert Schumann (1810–1856) More than any other composer of his time, Schumann showed how poetic ideas could be fused with music to form a blazing artistic synthesis. In an age governed by the power of dreams and pursuit of the poetic ideal, Schumann expressed the sheer joy in being alive – and of being in love – with a cathartic surge without parallel. He lived for the inspiration of the moment – his forte was cramming the maximum amount of inspiration into the smallest possible space. For twentyfive years his creative light shone with a blinding iridescence, but following a halfhearted attempt at drowning himself in the Rhine he spent his final months in a mental asylum.

Violin Concerto in D minor, WoO23 (1853) II. Langsam (with codetta

by Benjamin Britten) Originally composed for celebrated virtuoso Joseph Joachim, Schumann’s Violin Concerto was the last major work he completed before becoming overwhelmed by feelings of despair and confusion.

Joachim never played it in public and fearing that it might in some way harm Schumann’s posthumous reputation,

inserted a codicil in his will forbidding any performance until 1956 (the centenary of Schumann’s death).

However, the slow movement’s main theme did appear in a supplementary volume of Schumann’s complete works (edited

by Brahms) as his ‘last musical thought’.

Originally intended in 1854 as the basis of a set of variations, Schumann’s confused state of mind led him to believe that the theme from the concerto had been recently sent to him by the spirits of Schubert and Mendelssohn surrounded by a choir of angels. In the end, the world premiere of the orchestral original was given by Georg Kulenkampff on 27 November 1937, followed just a few days later on 6 December by the premiere of the version with Paul Hindemith’s piano reduction given in Carnegie Hall by Yehudi Menuhin.

Such is the emotional potency of the concerto’s slow movement that in 1958 Benjamin Britten (a lifelong devotee of Schumann’s music) chose it as a musical memorial to the great horn player Dennis Brain, who had tragically been killed in car crash the previous year, aged just 36.

This was premiered on 19 June 1958 by Menuhin under the title ‘Elegy for violin and orchestra (from the violin concerto)’ and is of particular interest as it features a closing codetta by Britten himself. Consisting of seven bars of pencilled manuscript, it brings to a sublime conclusion a movement that in Schumann’s original runs directly into the concerto’s polonaise finale.

Johannes Brahms (1833–1897) Described by the composer Robert Schumann as ‘a gift from Zeus – the chosen one’, Brahms drew inspiration from the music of Bach, Haydn, Mozart, Beethoven and Schubert, yet everything he composed carries his own unmistakable stylistic imprint. He also helped stem the inexorable flow of Romantic music towards chromatic meltdown. At a time when new forms of expression were becoming all the rage, Brahms clung tenaciously to traditional values, preferring the symphony and sonata to the theatrical spectacle of opera. His music is structurally invincible, with each and every note having its own logical place in the musical universe.

Concerto for Violin and Cello in A minor, Op. 102 (1887) I. Allegro II. Andante III. Vivace non troppo The Double Concerto, Brahms’s final orchestral work, was composed in 1887, during the second of three idyllic summers he spent at Hofstetten bei Brienz on Lake Thun in Switzerland. He had recently been working on a number of chamber works, including the second cello and violin

sonatas, and the resulting concision and intimacy of his musical thinking spilled over into the concerto. It would also appear that the concerto was written, at least in part, as a form of reconciliation between Brahms and Joseph Joachim, who had hardly spoken to one another since an incident involving the Joachims in which Brahms has sided with the violinist’s wife. However, as soon as Joachim heard about the project, he was full of renewed enthusiasm.

The first complete performance was given as a private concert in Baden-Baden, with Joachim and Robert Hausmann as soloists under the direction of the composer. The same team then went on to give the public premiere in Cologne on 18 October 1887, which pleased the critics well enough but did little to fire the public’s enthusiasm. At a time when notehungry audiences gorged themselves regularly with virtuoso spectacle, Brahms’s symphonic masterwork, in which the soloists eloquently share the material rather than try and score musical points off each other, failed to create much excitement. Indeed, throughout even the stormiest episodes of the outer movements and the central Andante’s nobly espressivo unisons, Brahms ensures his soloists are equal protagonists, paving the way for the reflective, nostalgiafuelled introspection of his late piano works and Clarinet Quintet. The score was dedicated ‘To him for whom it was written: Joseph Joachim.’

JULIAN HAYLOCK © 2016

JOSHUA BELL

Photo: Lisa Marie Mazzucco

J

oshua Bell is one of the most celebrated violinists of his era, and his restless curiosity, passion, and multi-faceted musical interests are almost unparalleled in the world of classical music. Named the Music Director of the Academy of St Martin in the Fields in 2011, Bell is the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958.

An exclusive Sony Classical artist, Bell has recorded more than 40 CDs garnering Grammy, Mercury, Gramophone and Echo Klassik awards since his first LP recording at age 18 on the Decca Label.

The Academy of St Martin in the Fields’ first release under Bell’s leadership, Beethoven Symphonies Nos. 4 and 7, debuted at #1 on the Billboard charts, and was followed up by the critically acclaimed Bach. His discography encompasses much of the major violin repertoire as well as groundbreaking collaborations across multiple musical genres with respected artists from the worlds of Pop (Sting, Josh Groban), Jazz (Chick Corea, Branford Marsalis), Bluegrass (Edgar Meyer, Bela Fleck) and Film (including John Corigliano’s Oscar-winning soundtrack, The Red Violin).

Born in Bloomington, Indiana, Bell received his first violin at age four and at 12 began studying with the legendary Josef Gingold at Indiana University. At the age of 14 Bell began his rise to stardom, performing with Riccardo Muti and the Philhadelphia Orchestra and at age 17 making his Carnegie Hall debut and touring Europe for the first

AT THE AGE OF 14 BELL BEGAN HIS RISE TO STARDOM, PERFORMING WITH RICCARDO MUTI AND THE PHILHADELPHIA ORCHESTRA time. Perhaps the event that helped most to transform his reputation from ‘musicians’ musician’ to ‘household name’ was his incognito performance in a Washington, DC subway station in 2007. Ever adventurous, Bell had agreed to participate in the Washington Post story by Gene Weingarten which thoughtfully examined art and context. The story earned Weingarten a Pulitzer Prize and sparked an international firestorm of discussion.

Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th century French bow by François Tourte.

STEVEN ISSERLIS THE BARBICAN

Photo: Kevin Davis

S

teven Isserlis enjoys a unique and multi-faceted career as soloist, chamber musician, author and educator. He appears regularly with the world’s leading orchestras, gives recitals every season in major musical centres, devises fascinating chamber music programmes, performs with many periodinstrument ensembles, plays and writes for children, and works with many living composers. Unusually, he also directs chamber orchestras from the cello in classical programmes.

Highlights of this season include a survey of the complete Bach Cello Suites at the Wigmore Hall and elsewhere; recital programmes with Ian Bostridge, Stephen Hough, Robert Levin and Richard Egarr; a special recital with Sir Andras Schiff at the Beethovenhaus in Bonn performed on fortepiano and Beethoven’s own cello, which was last played in public more than 50 years ago; his appointment as Guest Artistic Leader of the Norwegian Chamber Orchestra; and the world premiere of the orchestral version of Thomas Adès’s Lieux retrouvés in Lucerne, with the composer conducting.

Steven’s diverse interests are reflected in an extensive and award-winning discography. His recording of J.S. Bach’s complete Solo Cello Suites for Hyperion was Gramophone’s Instrumental Album of the Year and Critic’s Choice at the Classic BRITS. Other recent releases include Shostakovich and Prokofiev Concertos with the Frankfurt Radio

Symphony Orchestra and Paavo Jarvi; sonatas by Grieg, Mendelssohn and Hough with Stephen Hough; Bach’s Viola da Gamba Sonatas with Richard Egarr; a disc with Thomas Ades including the latter’s Lieux Retrouves; and Beethoven’s complete sonatas and variations with Robert Levin. His newest recording of Elgar and Walton Concertos with the Philharmonia Orchestra and Paavo Järvi will be released on the 26th February for Hyperion. He has written two children’s books about the lives of the great composers, and gives masterclasses worldwide. For the past eighteen years he has been Artistic Director of the International Musicians’ Seminar at Prussia Cove, Cornwall.

The recipient of many awards, Steven’s honours include a CBE in recognition of his services to music and the Schumann Prize of the City of Zwickau. He is also one of only two living cellists featured in Gramophone’s Hall of Fame.

ABOUT THE ACADEMY

THE ACADEMY OF ST MARTIN IN THE FIELDS IS ONE OF THE WORLD’S PREMIER CHAMBER ORCHESTRAS, RENOWNED FOR ITS FRESH, BRILLIANT INTERPRETATIONS OF THE WORLD’S MOST-LOVED CLASSICAL MUSIC

F

ormed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through its live performances and vast recording output – highlights of which include the 1969 best-seller Vivaldi’s Four Seasons and the soundtrack to 1985’s Oscar-winning film Amadeus – the Academy quickly gained an enviable international reputation for its distinctive, polished and refined sound.

Today the Academy is led artistically

by Music Director and virtuoso violinist

Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductor-less ensemble which has become an Academy hallmark. Each year the Academy works with some of the most talented soloists and directors on the classical music scene, performing symphonic repertoire and ‘chamber music on a grand scale’ at prestigious venues throughout the world.

Highlights of the Academy’s 2015/16 season include concerts and international tours with world-leading soloists, including cellist Steven Isserlis, violinist Julia Fischer

“EXPLOSIVE, MERCURIAL, SPONTANEOUS, TOTALLY INVOLVING”

Photo: Chris Christodoulou

Classical Source

and trumpeter Håkan Hardenberger. Music Director Joshua Bell leads tours of the UK, Europe and the United States; Principal Guest Conductor Murray Perahia tours Germany and Europe; and Life President Sir Neville Marriner takes the Academy to Asia with renowned pianist Angela Hewitt.

In addition to a busy concert and touring schedule, the Academy continues to reach out to young people and adult learners through its Learning and Participation programme. This year’s projects include the Academy’s flagship Create, Cultivate, Orchestrate! workshops for primary and secondary school children; professional development partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama and the Royal Northern College

of Music; and working with some of London’s most vulnerable and homeless adults, creating opportunities for everyone to connect and create music with the orchestra.

With over 500 recordings to date, the Academy is one of the most recorded chamber orchestras in the world.

Recent highlights include Beethoven Symphonies Nos. 4 & 7, the Academy’s first recording under Joshua Bell’s directorship, which reached No. 1 on the Billboard Classical Albums Chart, and the critically acclaimed Bach, which had the distinction of being Joshua Bell’s first-ever Bach concertos recording.

Find out more about the Academy of St Martin in the Fields at www.asmf.org

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NEWS FROM THE ACADEMY

Photo: Jonathan Hess

THE BARBICAN

NEW LEADER

THE ACADEMY PODCAST

We are very pleased to announce that Tomo Keller has been appointed as our new Leader, following a vote from the Academy membership. Tomo has been a frequent guest leader and performer with the Academy and the Chamber Ensemble since 2012, following the departure of Ken Sillito. Please join us in welcoming Tomo to the Academy family!

The third episode of the ASMF Podcast is now out. We speak to the wonderful violinist Julia Fischer and Russian composer Andrey Rubtsov about the world premiere of his Violin Concerto taking place on our German tour, which starts next week. Listen at. soundcloud.com/asmf or on iTunes.

Our first Create, Cultivate, Orchestrate! project of 2016 has begun, with Academy musicians undertaking a ‘Tour in a Day’ to three Islington primary schools on 19th January. Over the course of the day, over 180 children were treated to live classical music performance at a world class level, with the opportunity to work closely with the musicians at taster workshops and an intensive three day performance project coming up in February and March.

Photo: Felix Broede

LEARNING AND PARTICIPATION

Stand out with 20% off Business Cards from moo.com To claim, use the code ASMF20 at checkout before 30th June 2016.

(Much as we adore you, sadly this offer isn’t valid with other MOO offers or previous orders, and excludes shipping and giftcards.)

are proud supporters of Joshua Bell and

The Academy of St Martin in the Fields Since September 2015, Joshua Bell and the Academy of St Martin in the Fields have been Classic FM’s inaugural Artists in Residence.

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Through this partnership, audiences and listeners will be able to experience a number of unique events such as three exclusive live performances for Classic FM’s Full Works Concert (Monday-Friday, 8-10pm), a three-part series introducing the orchestra presented by Joshua Bell, exclusive online content at ClassicFM.com and a special appearance from Joshua Bell and the Academy at Classic FM Live, to be held at London’s Royal Albert Hall on 28 September.

Whether you are already one of our 5.6 million weekly listeners, or you’ve yet to discover Classic FM, we hope you will join us in celebrating the work of these outstanding musicians.

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GET CLOSER TO OUR MUSIC

Photo: Mike Hoban

T

he Academy of St Martin in the Fields invests significantly so that our unique interpretations of the classical repertoire can be experienced and enjoyed by as many people in this country as possible.

We aim to engage with a wide and diverse range of people of all ages and backgrounds through our live concerts, educational work and broadcasting partnerships.

We have a turnover of more than £2.8 million a year and we need to raise in excess of £500,000 from private sources in order to present over 100 concerts in the UK and around the world as well as to deliver our educational and communities programme of dynamic, inspiring and participatory musicmaking projects. We do not receive core public funding from the government.

As the Academy approaches the end of six decades of thrilling audiences we have launched Sound Future - a three year, £2.5 million fundraising campaign in order to ensure that the Academy will continue to flourish both artistically and financially well into the future.

None of this would happen without the continued support of enlightened individuals. We are very grateful for the generosity of our current supporters and urge you to consider joining them.

You can make a real difference by making a donation or by becoming a Patron or Friend. Membership starts from as little as £4.20 a month and in return we guarantee a real and lasting relationship with one of the world’s greatest chamber orchestras. Join online at https://support.asmf.org/join_now

“INCOMPARABLE MUSICIANSHIP, A WONDERFUL HISTORY AND A BRIGHT FUTURE. IT’S A PRIVILEGE TO BE INVOLVED.” Elizabeth Bennett, Academy Patron For further information please contact our Development team on 020 7702 1377 or at development@asmf.org

SUPPORTING US

PROGRAMME NOTES CORPORATE PATRONS Concert Sponsor (15 April 2016):

Programme Sponsor:

CORPORATE CLUB MEMBERS Anonymous

CORPORATE PARTNERS Print Partner:

Wine Partners:

CHARITABLE TRUSTS AND FOUNDATIONS Angus Allnatt Charitable Foundation American Friends of the Academy of St Martin in the Fields Arts Council England Backstage Trust Clifford Chance Foundation Coutts Charitable Trust Dr Rhona Reid Charitable Trust Ernest Cook Trust Fenton Arts Trust Fidelio Charitable Trust Follett Trust Garfield Weston Foundation Golden Bottle Trust John Ellerman Foundation PRS for Music Foundation Sir Siegmund Warburg’s Voluntary Settlement The Austin and Hope Pilkington Trust The Bernard Sunley Charitable Foundation The Cadogan Charity The D’Oyly Carte Charitable Trust The Goldsmiths’ Company The Sir Jules Thorn Charitable Trust ACADEMY FELLOWS Dunard Fund Maria Cardamone & Paul Matthews ACADEMY TUTTI Daniel Dayan & Jennifer Ison Mrs Galina Smirnova PROJECT PATRONS Jim Mellon PLAYERS’ CIRCLE Paul Aylieff Elizabeth Bennett Peter & Annette Dart Trevor Moross Charlotte Richardson Peter & Prilla Stott Jenny & Bruce Tozer

HONORARY PATRONS Hugh Bonneville & Lulu Williams PATRONS Anonymous Conrad Bjørshol & Linda Sivertsen Clive & Helena Butler Cyrille Camilleri Dr Paul Gilluley & Mr Tim Hardy Dr Joseph Helms Christine Jasper Jonathan Joseph Diana Midmer Karen & Stefan Müller Anthony & Natalia O’Carroll Mr & Mrs Nigel Rich Lois Sieff Claudia Spies Shelley von Strunckel PRINCIPAL FRIENDS Anonymous Bobby Child David Cohen Mrs Maureen Elton Jill & Victor Hoffbrand SUPPORTING FRIENDS Anonymous Isla Baring Andy Blundell Coco Brandon Toby Courtauld Bob Eagle Maianna Elmitt David & Anne Giles Katy Jones Julia Jordan Alan Leibowitz Laurence Llewellyn Andrew McGowan Diana Mills Susanna & Michael Percy Katy Shaw Gabriel van Aalst Sir Robert & Lady Wilson

FRIENDS Anonymous Lady Mimi Lloyd Adamson Mark & Nicola Beddy Mrs Pat Benians Heather Benjamin Ishani Bhoola Lady Rosemary Bischoff Michael & Lauren Clancy Marianne Denzle Stephen Hayes Johannes Jasper Annette Kurdian Richard & Lizzy Lea Richard Maile Patrick McEntee Paul Nettelmann Alexander & Sally Nissen Juan Pena Catherine Phillips RIBA Ray Pritchard John Ransom Scott Raquepaw Ronald & Christine Rodgers Simon Rothon Timothy M Simon Kenneth & Marilyn Teacher John Turner Dr J Wardle Philippa Wright R Zornoza AMERICAN FRIENDS OF THE ACADEMY OF ST MARTIN IN THE FIELDS Mary & Robert Carswell The Colburn Foundation Charmane Crain Mary Foust Dr. Stanley M. & Luella G. Goldberg Laurie Hieta Barbara Johnson Klara & Larry Silverstein Richard & Joann Weiner Carolyn & Elliott Zisser

DIVERTIMENTO GROUP The Divertimento Group recognises the very generous support of individuals who have contributed through our series of unique and special events but are not credited under our membership schemes.

Anonymous Maria Averianova Henrietta Baldock Stephen Barter Ronnie Bell Vanessa Blackmore Sara Boyes André Bruère Isobel Buchanan & Jonathan Hyde Sandra Burbidge Andrew Carey Sir Geoffrey & Lady Cass Susan Chaing Philip Chesterfield Countess of Chichester Kathryn & Richard Coar Sir Michael Codron John Coles Howard Colvin Sir Peter Coulson Anne & Tim Coxon Duncan Dunn Mimi Durand Kurihara Denham Eke Philip Edgar-Jones Sir Richard Eyre Charles Fairhurst Barbara & Ken Follett John Fortescue Nick Garratt Andrew Given Lord Peter Goldsmith Colin & Fiona Goodwille Lydia & Manfred Gorvy Sean Gorvy Matthew Gregory

Stewart Grimshaw Gustav Hamrén-Larsson Dame Pippa Harris Sophia Hart David Horlington Professor Ken Howard John Hughes Celia Imrie Sir Derek Jacobi Antoni Jakubowski Robert Jameson Alan Kerr Mark Laurence Peter Lawlor David Leppan Elliot Lipton Lara Lohr Paul Lyon-Maris Douglas Mackie Alex Mahon Fionnuala McCredie Bruce McInroy Ken Morgan Elisabeth Murdoch Gareth Neame Finola O’Farrell QC David & Debbie Owen Sir Howard Panter Gary Reich Alan Rickman & Rima Horton Duncan Salvesen Debbie Sandford David Scott Sam Searle Jackie Stevenson Sir Tom and Lady Stoppard Ian Strachan Jayne Sutcliffe Sir David Tang Ralph Taylor Russell Taylor Neil Tennant James Tuckey Ewan Venters Richard Wilson Trish Wilson

THE ACADEMY

MUSIC DIRECTOR

Marketing and PR

LIFE PRESIDENT

Joshua Bell

Peter Fisher Marketing Manager

Sir Neville Marriner CH, CBE

PRINCIPAL GUEST CONDUCTOR

Murray Perahia

BOARD OF DIRECTORS

Rebecca Driver Media Relations PR Consultant

LEADER

Tomo Keller

Concerts

ACADEMY STAFF

Anna Desogus Head of Concerts and Touring

Gabriel van Aalst Chief Executive Development

Andrew McGowan Director of Development Cecilia Sala Senior Development Manager Andrew Miles Development Assistant Learning and Participation

Charlotte O’Dair Learning and Participation Manager

Sally Sparrow Orchestra Personnel Manager Ina Wieczorek Concerts and Recordings Manager

Paul Aylieff Chairman Heather Benjamin Elizabeth Bennett Mark David Daniel Dayan Evelyne Dubé Rachel Ingleton Julia Jordan Catherine Morgan Trevor Moross Simon Morris Anthony O’Carroll Charlotte Richardson Harvey de Souza Peter Stott DEVELOPMENT BOARD

Katherine Adams Librarian Richard Brewer Concerts and Administration Assistant Sarah Narhi Orchestral Administration Trainee

THE ACADEMY OF ST MARTIN IN THE FIELDS

Trevor Moross Chairman Paul Aylieff Cyrille Camilleri Gareth Davies Jill Hoffbrand Christine Jasper Alan Kerr Genia Lifschitz Mark Oshida Peter Stott FOLLOW THE ACADEMY

The Griffin Building, 83 Clerkenwell Road, London EC1R 5AR www.asmf.org E: info@asmf.org

/asmforchestra

The Academy of St Martin in the Fields is an operating name of Academy Concerts Society.

Charity Registration No. 289294 Registered in England No. 1808488

/ASMF

@asmforchestra +academyofstmartininthefields /TheASMF

JOIN US AGAIN SOON SIR NEVILLE MARRINER TILL FELLNER Friday 15 April Cadogan Hall 7.30pm

/asmforchestra @asmforchestra /ASMF /TheASMF +academyofstmartininthefields

THE ACADEMY OF ST MARTIN IN THE FIELDS The Griffin Building, 83 Clerkenwell Road, London EC1R 5AR www.asmf.org info@asmf.org