English Chamber Orchestra programme - Ben Johnson, Ben Goldscheider & Jessica Cottis (16 March 2019)

ENGLISH CHAMBER ORCHESTRA PA T R O N H R H T H E P R I N C E O F WA L E S

Leader Stephanie Gonley

London Concert Series 2018/19

Ben Johnson Tenor Ben Goldscheider Horn Jessica Cottis Conductor Cadogan Hall – 16 March 2019, 7.30pm

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The lake has inspired many composers, and we will enjoy performances by a renowned group of international soloists, including pianists Melvyn Tan and Iain Burnside, tenor Luis Gomes, baritone Sergio Vitaleis, violinist Elisabeth Perry and violist Simon Rowland-Jones. There will be an optional performance of L’elisir d’amore by Donizetti at La Scala in Milan. We stay at the 4* Imperiale in the village of Moltrasio, the hotel has a lakeside restaurant and a spa with an indoor pool.

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We shall enjoy six exclusive concerts in the lovely concert hall overlooking the garden at La Mortella, the former home of Sir William & Lady Walton. Our base for the duration will be the 4* Albergo San Montano in the small resort of Lacco Ameno, with spectacular views of the Bay of Naples. We include a guided tour of the garden at La Mortella and a half-day sightseeing tour of Ischia. There are three optional tours; one to Herculaneum and the Villa Oplontis, one to Naples; and the third is a half-day exploration of the Ischia countryside.

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Cadogan Hall 16 March 2019, 7.30pm

English Chamber Orchestra Ravel Le tombeau de Couperin

Britten Serenade for Tenor, Horn and Strings, Op.31

Interval Purcell/Britten Six Songs from Orpheus Britannicus

Stravinsky Pulcinella Suite

Ben Johnson Tenor Ben Goldscheider Horn Jessica Cottis Conductor

The ECO is grateful to the English Chamber Orchestra Charitable Trust for its generous support of this concert.

English Chamber Orchestra reserves the right to substitute artists and to vary programmes if necessary.

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ECO London Series 2018/19 Cadogan Hall

ENGLISH CHAMBER ORCHESTRA LEADER STEPHANIE GONLEY

PA T R O N H R H T H E P R I N C E O F WA L E S

Welcome

It is my great pleasure to welcome you to tonight’s concert. Benjamin Britten was our first Patron and our concerts and recordings together are legendary; his music is in our blood. I still remember first hearing his Serenade and buying a recording the next day and my enthusiasm has never waned. Tonight we are privileged to present the brilliant horn player Ben Goldscheider, a recent Young Musician finalist and BBC Music Magazine 'Rising Star', who is joined by tenor and former BBC New Generation Artist Ben Johnson who will repeat his stunning 2013 Proms performance of the Serenade with the orchestra.

Britten held Purcell in great regard and we look forward to hearing the Six Songs from Orpheus Britannicus, while Ravel’s orchestration of his Le tombeau de Couperin and Stravinsky’s Pulcinella Suite are also great personal favourites and full of energy.

We are delighted to have Jessica Cottis as our conductor for tonight's concert; she has received much critical acclaim and brings her special talents to complete what will be a memorable evening.

Thank you all for your continued support and we look forward to seeing you again on 16 April for Stephanie Gonley's concert.

Sincerely,

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

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

A small selection of sandwiches, cakes and snacks is available from the Oakley Bar. Concert goers may also enjoy a wide selection of champagnes, spirits, red and white wines, beers and soft drinks from the Culford Room bar. Customers seated in the Gallery can buy interval drinks from the Gallery Bar at some concerts.

Camera 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.

Michael Facey Trustee, English Chamber Orchestra Charitable Trust

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Maurice Ravel (1875–1937) Le tombeau de Couperin Prélude Forlane Menuet Rigaudon

I

n October 1914, Ravel wrote to his friend Roland-Manuel that he was working on a suite française for piano: ‘No, it’s not what you think, the Marseillaise doesn’t come into it at all, but there’ll be a forlane and a jig; not a tango though...’

(Pope Pius X had recently attempted to ban the ‘lascivious’ tango and revive the more decorous Venetian furlana in its place.)

Ravel turned for inspiration to the great French harpsichord composer, François Couperin (1668–1733); a tombeau – literally a ‘tomb’ (or memorial) – was an elegant 18th Century form of tribute to a deceased friend or colleague.

Work on the piece was interrupted by the demands of the Great War; Ravel’s ambition was to be a bombardier in the air force, but he was declared medically unfit and had to settle for gruelling work as a lorry driver. When he returned to Le tombeau de Couperin in 1917, his world was a grimmer place; he had seen the horrors of the front line at first hand, his mother had died and he had lost several close friends in the War. Each movement of the suite was dedicated to the memory of one of these friends, including the husband of the pianist Marguerite Long, who gave the first performance. In 1919, Ravel orchestrated four of the original six movements; this orchestral version was first heard at the Concerts Pasdeloup in Paris on 28 February 1920, conducted by Rhené-Bâton.

In the opening Prélude, Ravel’s remarkable orchestral alchemy turns the dazzling fingerwork and delicate ornamentation of Couperin’s keyboard technique into a display of equally dazzling virtuosity from all the members of the small orchestra, particularly the oboe.

Ravel had found a Forlane among Couperin’s keyboard works and used its lilting metre and rondo structure as the model for his own (‘I’m going to see to it that it is danced at the Vatican by Mistinguett and Colette en travesti’, he wrote). Its impish grace gains added piquancy from Ravel’s judicious spicing of the harmony with ‘wrong’ notes.

The courtly Menuet seems filled with nostalgia for a lost world; Ravel had been profoundly moved by Alain-Fournier’s novel of innocence and loss, Le Grand Meaulnes. The central section is a Musette, a ‘bagpipe dance’; over a drone bass, parallel chords are given a spectral glow by some strange orchestral colours, including muted horn and trumpet.

The reprise of the Menuet ends in an oddly jazzy trill.

The suite ends with an extrovert Rigaudon (an old Provençal dance) in the spirit of Chabrier, with the trumpet well to the fore.

In a contrasting middle section, an elegant processional tune for the oboe is handed over to the cor anglais and then taken up by flute and clarinet, before the Rigaudon returns to end the suite in a blaze of excitement.

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ECO London Series 2018/19 Cadogan Hall

Benjamin Britten (1913–1976) Serenade for Tenor, Horn and Strings, Op. 31

B

enjamin Britten wrote his Serenade in the spring of 1943, while convalescing from a severe attack of measles. Its composition helped him gather his strength to tackle his opera Peter Grimes, and also gave him practice in writing for the voice of his lifelong companion Peter Pears, who was to sing the title role in the opera. Britten had already demonstrated his skill in writing for voice and strings in the song cycle Les Illuminations of 1938; the addition of a solo horn to the texture was inspired by Britten’s admiration for the young Dennis Brain, who had played in the RAF Orchestra in 1942 for Britten’s incidental music to a radio series, An American in England. The completed cycle was first performed by Peter Pears and Dennis Brain at a wartime concert in the Wigmore Hall on 15 October 1943, conducted by Walter Goehr. Although Britten dismissed it as ‘not important stuff, but quite pleasant, I think’, the hauntingly atmospheric Serenade is among his most beautifully crafted, tuneful and memorable works.

A ‘serenade’ is literally an ‘evening piece’: utilising his encyclopaedic knowledge of literature, Britten trawled through five centuries of English poetry to compile a sequence of six poems charting the progress of nightfall from dusk to midnight. (There were originally seven poems: a rejected setting of Tennyson’s ‘Now sleeps the crimson petal, now the white’ was rediscovered in the 1980s.)

The songs are framed by a Prologue and Epilogue for solo horn, playing only on natural harmonics (without the use of valves to temper the pitch of the notes of the overtone series).

Gently breathing chords in the strings introduce

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Charles Cotton’s ‘Pastoral’, a placid depiction of the lengthening shadows of sunset in a rural setting. In Tennyson’s ‘Nocturne’, the horn evokes both the bugle which sets the ‘wild echoes flying’, and the distant sound of the ‘horns of Elfland faintly blowing’.

Blake’s ‘Elegy’ is the sinister dark centre of the whole work. The sickness at the heart of the rose – ‘the invisible worm that flies in the night’ – is musically portrayed by a semitone figure on the horn, constantly infecting the harmony from within to turn it from major to minor. This semitone figure becomes the opening motif in the next movement, the anonymous ‘Lyke Wake Dirge’, which depicts the nocturnal progress of a doomed soul towards Purgatory in an obsessively repeating vocal line accompanied by a shadowy fugue.

Ben Jonson’s ‘Hymn to Diana’ is a delightful contrast: the moon is personified as the goddess Diana, ‘Queen and huntress, chaste and fair’, accompanied by an agile Mozartian rondo for hunting horn. Finally, Keats’s ‘Sonnet’ entreats the soothing benediction of sleep to ‘seal the hushèd Casket’ of the poet’s soul. In the distance, the sound of the solo horn ends the cycle as it began.

1. Prologue 2. Pastoral The day’s grown old; the fainting sun Has but a little way to run, And yet his steeds, with all his skill, Scarce lug the chariot down the hill.

The shadows now so long do grow, That brambles like tall cedars show; Molehills seem mountains, and the ant Appears a monstrous elephant.

A very little, little flock Shades thrice the ground that it would stock; And the small stripling following them Appears a mighty Polypheme.

And now on benches all are sat, In the cool air to sit and chat, Till Phoebus, dipping in the West, Shall lead the world the way to rest.

Charles Cotton (1630–1687) 3. Nocturne The splendour falls on castle walls And snowy summits old in story: The long light shakes across the lakes And the wild cataract leaps in glory.

Blow, bugle, blow, set the wild echoes flying, Bugle, blow; answer, echoes, dying, dying, dying.

O hark, O hear, how thin and clear And thinner, clearer, farther going!

O sweet and far from cliff and scar The horns of Elfland faintly blowing!

Blow, let us hear the purple glens replying: Bugle, blow; answer, echoes, dying, dying, dying.

O love, they die in yon rich sky, They faint on hill or field or river: Our echoes roll from soul to soul And grow for ever and for ever.

Blow, bugle, blow, set the wild echoes flying; And answer, echoes, answer, dying, dying, dying.

Alfred Lord Tennyson (1809–1892) 4. Elegy O Rose, thou art sick; The invisible worm That flies in the night, In the howling storm, Has found out thy bed Of crimson joy; And in his dark secret love Does thy life destroy.

William Blake (1757–1827) 5. Dirge This ae nighte, this ae nighte, Every nighte and alle, Fire and fleet and candle-lighte, And Christe receive thy saule.

When thou from hence away art past, Every nighte and alle, To Whinnymuir thou com’st at last; And Christe receive thy saule.

If ever thou gav’st hos’n and shoon, Every nighte and alle, Sit thee down and put them on; And Christe receive thy saule.

If hos’n and shoon thou ne’er gav’st nane, Every nighte and alle, The whinnes sall prick thee to the bare bane; And Christe receive thy saule.

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ECO London Series 2018/19 Cadogan Hall

From Whinnymuir when thou may’st pass, Every nighte and alle, To Brig o’ Dread thou com’st at last; And Christe receive thy saule.

From Brig o’ Dread when thou may’st pass, Every nighte and alle, To Purgatory fire thou com’st at last; And Christe receive thy saule.

If ever thou gav’st meat or drink, Every nighte and alle, The fire sall never make thee shrink; And Christe receive thy saule.

If meat or drink thou ne’er gav’st nane, Every nighte and alle, The fire will burn thee to the bare bane; And Christe receive thy saule.

This ae nighte, this ae nighte, Every nighte and alle, Fire and fleet and candle-lighte, And Christe receive thy saule.

Anonymous (15th Century) 6. Hymn Queen and huntress, chaste and fair, Now the sun is laid to sleep, Seated in thy silver chair, State in wonted manner keep: Hesperus entreats thy light, Goddess excellently bright.

Earth, let not thy envious shade Dare itself to interpose; Cynthia’s shining orb was made Heav’n to clear when day did close: Bless us then with wishèd sight, Goddess excellently bright.

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Lay thy bow of pearl apart, And thy crystal shining quiver; Give unto thy flying hart Space to breathe, how short so-ever: Thou that mak’st a day of night, Goddess excellently bright.

Ben Jonson (1572–1637) 7. Sonnet O soft embalmer of the still midnight, Shutting with careful fingers and benign Our gloom-pleas’d eyes, embower’d from the light, Enshaded in forgetfulness divine: O soothest Sleep! if so it please thee, close In midst of this thine hymn my willing eyes, Or wait the ‘Amen’ ere thy poppy throws Around my bed its lulling charities.

Then save me, or the passèd day will shine Upon my pillow, breeding many woes, – Save me from curious Conscience, that still lords Its strength for darkness, burrowing like a mole; Turn the key deftly in the oilèd wards, And seal the hushèd Casket of my soul.

John Keatsn (1795–1821) 8. Epilogue

Henry Purcell (1659–1695), realised by Benjamin Britten Six Songs from Orpheus Britannicus

H

enry Purcell was probably the greatest native English composer before Elgar; in his short life he composed a substantial quantity of magnificent music for church, court and stage, including one of the first significant operas in English, Dido and Aeneas. Purcell wrote over 250 songs and other vocal works; three volumes of his secular songs were published after his death, under the title of Orpheus Britannicus (‘The British Orpheus’).

Benjamin Britten was a great admirer of Purcell’s matchless word setting, melodic simplicity and harmonic subtlety; from the 1930s onwards, along with some of his contemporaries – composers Michael Tippett and Walter Bergmann, singers Peter Pears and Alfred Deller – he set out to reintroduce the British public to the then largely forgotten music of Henry Purcell. Britten published a number of editions of Purcell’s works; these included several sets of songs from Orpheus Britannicus, for which Britten made ‘realisations’ of the accompaniment from the single figured bass line which was all that Purcell had provided – rather like guitar chord symbols in the sheet music for a modern pop song. For this set of six songs, Britten’s ‘realisations’ take the form of unobtrusive accompaniments for chamber orchestra.

Benjamin Britten’s partner, the tenor Peter Pears, edited Purcell’s vocal lines without adding any spurious decorations. The two editors set out their principles with admirable modesty:

This edition is not the work of musicologists and therefore the solution of problems such as ornamentation has not been attempted. Most singers today are either unwilling or unable to perform the ‘Graces’ – which Purcell may have expected, and we have therefore only printed the notes which Purcell himself printed. Those singers who wish to ‘grace’ the songs will do so at their own pleasure.

It is clear that the figured basses in Purcell’s day were realised in a manner personal to the player. In this edition the basses have also, inevitably, been realised in a personal way. But it has been the constant endeavour of the arranger to apply to these realisations something of that mixture of clarity, brilliance, tenderness and strangeness which shines out in all Purcell’s music.

1. Let sullen discord smile Let sullen discord smile, Let war devote this day to peace.

Nahum Tate (1652–1715), from Birthday Song for Queen Mary (1693) 2. Why should men quarrel?

Why should men quarrel here, where all possess As much as they can hope for by success?

None can have most, where Nature is so kind As to exceed man’s use, tho’ not his mind.

John Dryden (1631–1700) and Sir Robert Howard (1626–1698), from The Indian Queen

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3. So when the glittering Queen of Night So when the glitt’ring Queen of Night With black Eclipse is shadow’d o’er, The globe that swells with sullen Pride Her dazzling Beams to hide Does but a little time abide, And then each ray is brighter.

Thomas D’Urfey (1653–1723), from The Yorkshire Feast Song (1690) 4. Thou tun’st this world Thou tun’st this world below, the sphears above, Who in the Heav’nly round to their own musick move.

Nicholas Brady (1659–1726), from A Song for St Cecilia’s Day (1692)

5. ’Tis holiday ’Tis holiday, bid the trumpet sound!

Nahum Tate, from Birthday Song for Queen Mary, (1693) 6. Sound Fame thy brazen trumpet Sound, Fame, thy brazen trumpet sound!

Stand in the centre of the Universe And call the list’ning world around, While we in joyful notes rehearse In artful numbers and well-chosen verse Our great Defender’s glory.

Thomas Betterton (1635–1710) and John Dryden, from Diocletian

Sunday 24th March 6.30pm • Conway Hall

St Paul’s Quartet This concert will open with one of Borodin’s most wellknown works (thanks to the beautiful ‘Notturno’ third movement), his second string quartet. Borodin dedicated the quartet to his wife, perhaps as a gift for their 20th anniversary, and it is said to depict their first meeting.

Composed just two years before his death, Beethoven’s A minor quartet is also known as the ‘Heiliger Dankgesang’ Quartet, after the third movement, the emotional core of the work, whose subtitle translates as ‘Holy song of thanksgiving of a convalescent to the Deity’.

Borodin Quartet No. 2 in D Talk on Beethoven’s Quartet Op.132 Beethoven Quartet in A Minor Op. 132

Red Lion Square • London • WC1R 4RL For information and tickets: conwayhall.org.uk Free for those aged 8 to 26, thanks to CAVATINA Chamber Music Trust

Igor Stravinsky (1882–1971) Pulcinella Suite Sinfonia (Overture) Serenata Scherzino – Allegro – Andantino Tarantella Toccata Gavotte con due Variazioni Vivo Minuetto – Finale

S

erge Diaghilev, impresario of the Ballets Russes, had ‘discovered’ Stravinsky and made him famous by commissioning the ballet scores for The Firebird, Petrushka and The Rite of Spring from him. However, by 1919 Diaghilev sensed that the public’s taste was moving away from the jagged avant-garde idiom and huge orchestral forces of The Rite of Spring, towards something simpler and more classically inclined – not to mention less expensive to put on in the aftermath of the First World War. He presented Stravinsky with a collection of music by the 18th Century Neapolitan composer Giovanni Battista Pergolesi, and a book of tales of the exploits of the commedia dell’arte character Pulcinella (‘Polichinelle’ in French, in English ‘Punchinello’ or Mr Punch).

The result was the ballet Pulcinella, first staged at the Paris Opéra in May 1920 conducted by Ernest Ansermet, with choreography by Leonid Massine and designs by Picasso.

Stravinsky said of his adaptations of the 18th Century originals (many of which are now known not to be by Pergolesi at all), ‘the remarkable thing about Pulcinella is not how much but how little has been added or changed’. But the resulting music is undeniably Stravinsky’s and marked the beginning of a fascinating ‘neo-classical’ period in his composing career.

Programme notes by Jonathan Burton © 2019

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ECO London Series 2018/19 Cadogan Hall

Ben Johnson Tenor Acclaimed tenor Ben Johnson represented England in BBC Cardiff Singer of the World 2013 and won the Audience Prize. A former BBC Radio 3 New Generation Artist and 2008 winner of the Kathleen Ferrier Award, Johnson was also an ENO Harewood Artist and a Wigmore Hall Emerging Talent.

His career encompasses the concert repertoire, opera and recital as well as conducting and artistic direction. He is the Artistic Director of the Southrepps Classical Music Festival and professor of singing at the Royal College of Music in London.

Johnson is currently singing Tamino in The Magic Flute at Welsh National Opera and in May returns to the Northern Chords Festival in Newcastle for two recitals with British pianist Martin James Bartlett.

Ben Goldscheider French Horn At the age of eighteen, Ben Goldscheider reached the Final of the 2016 BBC Young Musician Competition. Since then, he has performed at venues including the Berlin Philharmonie, Lucerne Culture and Congress Centre and made his BBC Proms debut at the Royal Albert Hall. In 2018 Ben released his debut album to critical acclaim, and was selected as BBC Music Magazine’s 'Rising Star' and Gramophone Magazine’s 'One to Watch'.

Ben is a student of Radek Baborák at the Barenboim-Said Academy in Berlin. This season he makes concerto debuts with the English Chamber Orchestra, Manchester Camerata and the Prague Philharmonia and returns to the Berlin Philharmonie to perform the Gliere Horn Concerto with das Sinfonie Orchester Berlin. A committed chamber musician, he has performed at Wigmore Hall with tenor Julian Prégardien and pianist Christoph Schnackertz and the Pierre Boulez Saal alongside Daniel Barenboim and Michael Barenboim. Sought-after as an orchestral player, Ben has performed as guest principal with the Staatskapelle Berlin, Philharmonia, English Chamber and West-Eastern Divan Orchestras.

Jessica Cottis Conductor Hailed in the UK music press as 'one to watch', Jessica Cottis possesses intellectual rigour, innate musicality and an easy authority; she is a charismatic figure on the podium who brings dynamism, intensity and clarity of vision to all her performances.

Frequently in demand as a guest conductor, highlights of recent seasons include performances with the Houston Symphony Orchestra, Los Angeles Philharmonic Orchestra, London Philharmonic Orchestra, Royal Philharmonic Orchestra, BBC Symphony Orchestra, BBC Concert Orchestra, BBC National Orchestra of Wales, Gävle Symphony Orchestra, Malmö Symphony Orchestra and Oulu Symphony Orchestra, as well as numerous re-invitations to the prestigious BBC Proms.

Following the success of her debut at the Royal Opera House in 2017 conducting Mamzer, she was immediately re-invited to conduct the world premiere of The Monstrous Child, which Jessica’s conducting 'strikingly brought to life’ (The Telegraph).Upcoming performances this season include Singapore Symphony Orchestra, Sydney Symphony Orchestra and Canberra Symphony Orchestra.

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F/Bb double horn, model 103 Shown here in the limited special edition made to celebrate the centenn anniversary of the original patent.

IN THIS EDITION News of the 2018 Festival Inspiration from the NYO The first horn tutor Women & the horn

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F/Bb double horn, model 103 Shown here in the limited special edition made to celebrate the centen anniversary of the original patent.

IN THIS EDITION Festival reviews David Pyatt - 30 years at the top Is that gizmo doing any good?

Farewell to a legend

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Sunday 21 April | 3pm Lighthouse Poole Book Now:

lighthousepoole.co.uk 01202 280 000 Programme features

Bernstein

‘Somewhere’ and ‘Mambo’ from West Side Story Etienne Abelin Conductor

ECO London Series 2018/19 Cadogan Hall

ENGLISH CHAMBER ORCHESTRA LEADER STEPHANIE GONLEY

PA T R O N H R H T H E P R I N C E O F WA L E S

Photograph Chris Christodoulou

T

he English Chamber Orchestra is the most recorded chamber orchestra in the world, its discography containing nearly 900 recordings of over 1,500 works by more than 400 composers.

Throughout its history, the ECO has performed in numerous countries and played with many of the world’s greatest musicians; the American radio network CPRN selecting it as one of the world’s greatest ‘living’ orchestras. Its illustrious past features many major musical figures, including Benjamin Britten who was the orchestra’s first Patron and a significant musical influence. The ECO has enjoyed long relationships with such great musicians as Mstislav Rostropovich, Pinchas Zukerman, Daniel Barenboim and many others. Last Season, the ECO performed

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across the UK and enjoyed a successful London series with artists including Christian Zacharias, Tenebrae, Jennifer Pike, Tasmin Little and Howard Shelley. International highlights included a tour to Mexico with José Serebrier and a soldout European tour with Julian Rachlin culminating in a concert at the Musikverein in Vienna. In addition, the orchestra has recorded many successful film soundtracks including Dario Marianelli’s prizewinning scores for Atonement and Pride and Prejudice and several James Bond soundtracks.

Last year, the ECO was honoured to participate in the ceremony for the wedding of Prince Harry and Meghan Markle and over the summer was on tour at the Lucerne Festival and in Turkey, where it worked with pianists Guher and Suher Pekinel at the Izmir and Istanbul music festivals. Last month, the ECO became the Orchestra-in-Partnership at Christ’s Hospital School in West Sussex, a collaboration that will involve side-by-side and one-to-one tuition.

Stay in touch with the ECO by subscribing to our monthly e-newsletter at www.englishchamberorchestra.co.uk Follow and engage with the ECO on Facebook and Instagram(@EnglishChamberOrchestra) and Twitter(@ECOrchestra).

First violins

Stephanie Gonley Ofer Falk Richard Milone Lucy Jeal Shana Douglas Tom Aldren Bridget O’Donnell

Second violins

Michael Gurevich Natalia Bonner Matt Elston Natasha Hall Ed McCullagh

Violas

Flutes

Horns**

Roger Chase Daisy Spiers Bryony Mycroft

Harry Winstanley Robert Manasse

John Thurgood Mike Kidd

Cellos*

John Roberts Philip Harmer

Oboes

Trumpet

Jesper Svedberg Boz Vukotic Alexandra Mackenzie

Clarinets

Anthony Pike Jill Turner

Basses

Bassoons

Paul Sherman Laurence Ungless

Neil Brough

Trombone Colin Sheen

Harp

Helen Tunstall

Paul Boyes Claire Webster

* The Chair of Principal Cello is generously supported by the Phair Family Foundation ** The Chair of Principal Horn is generously supported by Lynn Holmes in memory of Brian Holmes The list of players was correct at the time of going to press.

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ENGLISH CHAMBER ORCHESTRA

www.englishchamberorchestra.co.uk/concerts

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L OE A S S

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Tuesday 16 April, 2019 7.30pm Cadogan Hall

Wednesday 22 May, 2019 7.30pm Cadogan Hall

Stephanie Gonley

Behzod Abduraimov

violin/directorr

Bartók Divertimento for String Orchestra Mendelssohn Violin Concerto in D minor Schubert Rondo in A major Suk Serenade for Strings in E flat major

Tickets: £15 - £45

All bookings subject to a £3 transaction fee (no booking fees for ENCORE Members).

www.cadoganhall.com / 020 7730 4500

piano/director

Stephanie Gonley leader/director Stravinsky Concerto in D major for String Orchestra, 'Basel Concerto' Beethoven Piano Concerto No.1 in C major Mozart Rondo for Piano and Orchestra in D major, K382 Mozart Symphony No.38 in D major, K504, ‘Prague’