English Chamber Orchestra programme - Christmas with Vivaldi (Cadogan Hall, 2 Dec 2018)

ENGLISH CHAMBER ORCHESTRA

London Concert Series 2018/19

Christmas with Vivaldi

Cadogan Hall – Sunday 2 December 2018, 6.00pm

ENGLISH CHAMBER ORCHESTRA

www.englishchamberorchestra.co.uk/concerts

Tuesday 19 February, 7.30pm

Cadogan Hall Ana de la Vega and English Chamber Orchestra

Grieg Holberg Suite, Op.40 Mozart Flute Concerto in D major, K314 Mysliveček Flute Concerto in D major Tchaikovsky Serenade for Strings in C major, Op.48

Ana de la Vega flute Stephanie Gonley director Tickets: £15 - £45

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

www.cadoganhall.com

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18D O N 0 2 N O L OE A S S

Cadogan Hall Sunday 2 December 2018, 6.00pm

English Chamber Orchestra Vivaldi ‘L’invierno’ (Winter) from The Four Seasons Concerto in E flat for Violin, Op. 8 No. 5 ‘La tempesta di mare’ Concerto in B flat for Violin and Cello Concerto in D major for Flute, Op. 10 No. 3 ‘Il gardellino’

Interval Traditional Medieval Carols, directed by Liz Brinsdon

Vivaldi Gloria in D

Stephanie Gonley Violin/Director Caroline Dale Cello Harry Winstanley Flute Raphaela Papadakis Soprano Lotte Betts-Dean Mezzo-Soprano Michael Collins Conductor Choir of the 21st Century

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

Tonight on Advent Sunday we celebrate the forthcoming season with an almost-all Vivaldi concert and choral music from the voices of CC21, one of London’s most dynamic amateur choirs.

It’s also a celebration of fine music from one of the world’s great chamber orchestras. Music has the power to move us in a way that little else can and I am delighted that we are able to promote the very best that London has to offer this evening.

The ECO’s outreach programme in schools also helps this goal, bringing music into lives that it might not otherwise reach. You can read more about this work on the ECO website and I thank you for being here with us this evening.

Registered Charity No. 226894

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I am especially grateful to all of the ECO’s Friends and Patrons for their valued support of this and other concerts. Please do join them if you haven’t already.

And Happy Christmas to you all when it comes.

Sir Roger Gifford Chair, English Chamber Orchestra & Music Society

Antonio Vivaldi (1678–1741)

Concerto in F minor for Violin, Op. 8 No. 4, RV 297 ‘L’invierno’ (Winter) from The Four Seasons Allegro non molto · Largo · Allegro

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couple of generations ago, nobody could have predicted that four violin concertos by Antonio Vivaldi would by now be among the best-loved and most frequently played music in the world.

Vivaldi was remembered (if at all) only as the ‘red-haired priest’ who wrote vast amounts of music for his young pupils at the Ospedale della Pietà, an orphanage for female foundling children in Venice. His dazzling career as a virtuoso violinist and composer of forty operas was forgotten, as was most of the music itself.

The girls of the Pietà must have been astonishingly talented; Vivaldi composed several hundred extremely difficult concertos for them to play, on a vast range of instruments (there are thirty nine bassoon concertos, for example). But it was his own instrument, the violin, that inspired Vivaldi to his greatest feats of inventiveness and originality. In 1725 he gathered together twelve of his violin concertos and published them under the collective title Il Cimento dell’armonia e dell’inventione (the contest of harmony and invention). The first four of these concertos constitute The Four Seasons; Vivaldi helpfully provided a descriptive sonnet for each of them, crossreferenced to the score to indicate exactly what is being represented in the music from bar to bar. This uncomplicated pictorialism, combined with the directness and energy of the music, made these concertos hugely popular in their

own day, and has endeared them to performers and audiences since their rediscovery.

Winter begins with trembling limbs, icy blasts of wind, feet stamping for warmth, and chattering teeth. The second movement brings respite from the cold; the soloist keeps warm indoors by the fire, as the rain (solo cello and pizzicato violins) falls relentlessly outside. The finale is a skating party; tentative first steps are followed inevitably by slides and a tumble.

More confident strides succeed only in cracking the ice. An unexpected sirocco (the hot desert wind from Africa) evokes a fleeting recollection of summer, before the cold north wind brings us back to chilly reality. The accompanying sonnet ends: ‘Such is winter, but what joy it brings!’

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ECO London Series 2018/19 Cadogan Hall

Antonio Vivaldi

Concerto in E flat for Violin, Op. 8 No. 5, RV 253 ‘La tempesta di mare’ Presto · Largo · Presto

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everal of Vivaldi’s concertos for various instruments carry descriptive titles, indicating either an overall mood – ‘night’, ‘sleep’, ‘pleasure’ – or specific ‘tone-painting’. In his set of twelve violin concertos published in 1725 as Il Cimento dell’armonia e dell’inventione (the contest of harmony and invention), the next concerto after the Four Seasons bears the subtitle La tempesta di mare – the storm at sea. It must have been a favourite idea: Vivaldi also wrote a flute concerto, RV 433, and a concerto grosso for flute, oboe, bassoon and violin, RV 570, with the same subtitle. A set of parts for the violin concerto survives in Dresden, where the German virtuoso violinist Johann Georg Pisendel was a court musician; Pisendel must have acquired the work when he studied with Vivaldi in Venice in 1716 to 1717. It was Pisendel who introduced Johann Sebastian Bach to the concertos of Vivaldi.

Unusually, the outer movements are both marked Presto (quick) rather than merely Allegro (lively). Scrubbing repeated string figures and rushing scales immediately establish the image of a raging sea; the solo violin embarks on a series of increasingly frantic arpeggios and downward-plunging figures, like a storm-tossed boat. In contrast, the central slow movement portrays a placid calm sea between storms, although there is a growing sense of unease before we are

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plunged once again into the stormy seas of the energetic final movement in triple time. The soloist’s ever-descending lines seem to indicate that the ship is in danger of sinking; but at the end all hands appear to be saved.

Concerto in B flat for Violin and Cello, RV 547 Allegro · Andante · Allegro molto

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early fifty of Vivaldi’s concertos are for two soloists; this is one of four written for the solo combination of violin and cello, probably dating from the 1720s or 1730s. The concerto opens arrestingly, with unison string arpeggio figures punctuated by silences; the arpeggio patterns are taken up and embroidered by the two soloists, with interpolations of more lyrical material.

The brief central Andante consists of a songlike dialogue between the two soloists – a style

of writing much admired and imitated by J S Bach, who adapted and arranged a number of Vivaldi’s concertos. The last movement may also remind us of Bach’s Brandenburg Concertos, with its energetic triple rhythm enlivened by lively accents and syncopations and featuring much virtuoso display from the two soloists.

Concerto in D for Flute, Op. 10 No. 3, RV 428 ‘Il gardellino’ Allegro · Cantabile · Allegro

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cardellino (or in Vivaldi’s 18thcentury Italian, ‘gardellino’) is a goldfinch: Carduelis carduelis, a distinctive small songbird with a red, black and white head, black and yellow wings and a golden yellow body, is a familiar visitor to British gardens. In Vivaldi’s day and well into the 19th century, goldfinches were often kept in cages as domestic pets for the sake of their sweet song. Il gardellino is one of some twenty concertos composed by Vivaldi for flute or various sizes of recorder; written in about 1728, it was published in 1729 as one of a set of six flute concertos.

The first of its three short movements opens with unison strings in a perky rhythm answered by rising ‘tweets’ from the flute; the soloist’s line becomes increasingly bird-like, with rapidly alternating pairs of notes, trills and staccato repeated notes. The central Cantabile (‘songlike’) movement is a simple lyrical air for the soloist in a lilting rhythm. The final Allegro returns to the birdsong patterns of the first movement, beginning with solo ‘chirrups’ and developing into spectacular displays of onomatopoeic virtuosity.

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ECO London Series 2018/19 Cadogan Hall

Traditional Medieval Carols (arr Williams) Gaudete Lullay, lullow Puer nobis nascitur

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he origin of the term ‘carol’ is shrouded in mystery, although it probably came to us via old French and meant a round dance with singing. According to Andrew Gant (in his book Christmas Carols: from Village Green to Church Choir), Choirs sang church music. Everyone else sang carols. ... Folk carols on Christian themes were sung in the field and the graveyard, and in semi-magical processions round the parish.

Their texts often cover the entire Christian world-view, from creation to resurrection.

Mediaeval carols such as the three we hear this evening have survived in various sources.

Gaudete and Puer nobis nascitur appear in a printed collection entitled Piae Cantiones (Hymns of Piety) published in Finland in 1582. Gaudete, which may have originated in Bohemia, achieved modern fame thanks to Steeleye Span in the 1970s; the ‘closed gate’ – a reference to Ezekiel’s vision in the Old Testament – is used as a symbol of Mary’s virginity. Lullay, lullow, a gentle lullaby of the ‘maiden mother meek and mild’ and her baby son, comes from a 15th-century manuscript preserved in the British Library. Puer nobis nascitur is familiar to us in English translation as ‘Unto us a boy is born’.

Hieronymus Praetorius (1560–1629) In dulci jubilo

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orn in Hamburg, Hieronymus Praetorius was a member of a dynasty of German musicians – all organists, composers, teachers and music copyists. His vast output of religious music includes some fifty highly complicated and expressive polychoral motets for up to twenty voices, inspired by Venetian models.

At the other end of the scale, his simple setting of the 14th-century carol In dulci jubilo

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first appeared in a Magnificat published in 1622.

The tune was used several times by J S Bach, as well as for English versions by J M Neale (‘Good Christian men, rejoice’) and R L da Pearsall. The original text is macaronic – alternately in Latin and the vernacular, in this case German; this was a favourite device also frequently found in English mediaeval carol texts.

TURNING TALENT INTO SUCCESS

Raphaela Papadakis (2015 CMF Artist)

Lotte Betts-Dean (2017 CMF Artist)

raphaelapapadakis.com @raphaelasings

lottebettsdean.com @lottebettsdean

@CityMusicF | Registered Charity Number: 1148641 | citymusicfoundation.org

ECO London Series 2018/19 Cadogan Hall

Antonio Vivaldi Gloria in D, RV 589

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ivaldi composed the Gloria in or around 1715 for the choral and orchestral forces of the Ospedale della Pietà – perhaps with the addition of some adult males to sing the tenor and bass lines in the chorus. After Vivaldi’s death the score lay forgotten in a pile of his manuscripts until its rediscovery in Turin in the late 1920s; the first modern performance was given in Siena in 1939. The work is a setting of the Gloria section of the Latin Mass, an ancient Christian hymn of praise originally written in Greek in the Second Century AD. Vivaldi’s Gloria is divided into twelve contrasting sections, each of which sets a single phrase or sentence of the Mass text.

The overall tone of the work is joyous and celebratory, beginning with the leaping unison oboe and trumpet lines which introduce the opening Gloria section; but Vivaldi retains our attention with contrasts of mood and pace between successive movements, and by his use of solo voices in alternation with the full

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chorus. He also leads us through an interesting progression of keys, from D major and B minor via G and C major to the ‘remote’ key of F major for Domine fili unigenite, then back through D minor, A minor and again B minor to the home key of D major for a reprise of the leaping oboes and trumpets at Quoniam tu solus sanctus. The work concludes with a rousing double fugue on Cum sancto spiritu, which Vivaldi adapted from a Gloria of 1708 by Giovanni Maria Ruggieri, an otherwise littleknown composer from Verona.

1. Gloria in excelsis Deo Gloria in excelsis Deo,

Glory to God in the highest,

2. Et in terra pax Et in terra pax hominibus bonae voluntatis.

and on earth peace to men of good will.

3. Laudamus te (Soprano and Mezzo-Soprano) Laudamus te, benedicimus te, adoramus te, glorificamus te.

We praise you, we bless you, we adore you, we glorify you.

4. Gratias agimus tibi Gratias agimus tibi

We give thanks to you

5. Propter magnam gloriam Propter magnam gloriam tuam.

for your great glory.

6. Domine Deus (Soprano) Domine Deus, rex coelestis, Deus Pater omnipotens.

O Lord God, heavenly king, God the Father almighty.

7. Domine Fili unigenite Domine Fili unigenite Jesu Christe.

O Lord, the only-begotten Son, Jesus Christ.

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ECO London Series 2018/19 Cadogan Hall

8. Domine Deus, Agnus Dei (Mezzo-Soprano) Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis.

O Lord God, lamb of God, Son of the Father, you who take away the sins of the world, Have mercy on us.

9. Qui tollis peccata mundi Qui tollis peccata mundi, suscipe deprecationem nostram.

you who take away the sins of the world, receive our prayer.

10. Qui sedes ad dexteram Patris (Mezzo-Soprano) Qui sedes ad dexteram Patris, miserere nobis.

You who sit at the right hand of the Father, have mercy on us.

11. Quoniam tu solus sanctus Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe,

For you alone are holy, you alone are the Lord, you alone are the most high, Jesus Christ,

12. Cum Sancto Spiritu Cum Sancto Spiritu in gloria Dei Patris.

Amen.

with the Holy Spirit in the glory of God the Father.

Amen.

Programme notes by Jonathan Burton Š 2018

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ECO London Concert Series 2018/19

Mon 29 Oct 2018, 7.30pm Christian Zacharias piano / conductor Beethoven / Schoenberg Queen Elizabeth Hall, London Sun 2 Dec 2018, 6.00pm Christmas with Vivaldi Stephanie Gonley violin / director Michael Collins conductor Cadogan Hall, London

Tues 19 Feb 2019, 7.30pm Ana de la Vega flute Stephanie Gonley director Grieg / Mozart / Myslivecek / Tchaikovsky Cadogan Hall, London

Tues 16 Apr 2019, 7.30pm Stephanie Gonley violin / director Bartรณk / Mendelssohn / Schubert / Suk Cadogan Hall, London

Sat 16 Mar 2019, 7.30pm Ben Goldscheider horn Ben Johnson tenor Jessica Cottis conductor Ravel / Britten / Purcell / Stravinsky Cadogan Hall, London

Wed 22 May 2019, 7.30pm Behzod Abduraimov piano Stephanie Gonley director Stravinsky / Beethoven / Mozart Cadogan Hall, London

www.southbankcentre.co.uk 020 3879 9555 / www.cadoganhall.com 020 7730 4500 The orchestra is indebted to the generous support of its two charitable trusts, the English Chamber Orchestra Charitable Trust and the English Chamber Orchestra and Music Society.

This information was correct at the time of printing. However, the English Chamber Orchestra reserves the right to substitute artists or change programme details if necessary.

ECO London Series 2018/19 Cadogan Hall

Stephanie Gonley

Caroline Dale

Violin/Director

Cello

Stephanie Gonley studied with David Takeno at the Guildhall and Dorothy DeLay at the Juilliard School in New York, USA and is now a leading professor of violin at the Guildhall School of Music and Drama and at Trinity College of Music. In 1991 she was the youngest leader in London when she was appointed the leader of the English Chamber Orchestra and has since both directed and appeared as soloist with the orchestra throughout the world. Her recordings include the Sibelius Concerto on BMG and works by Dvorak with the ECO and Sir Charles Mackerras. Stephanie will perform Mendelssohn’s Concerto for Violin in D minor when she appears as soloist and director as part of the ECO’s London Concert Series on 16 April 2019 at Cadogan Hall.

Caroline Dale studied with the legendary Pierre Fournier in Geneva and was a member of the Nigel Kennedy Quartet and the Balanescu Quartet, as well as founder member of the American-based Apollo Piano Trio, before becoming Principal Cellist of the English Chamber Orchestra. She has appeared as concerto soloist many times with the English Chamber Orchestra and also with the London Philharmonic and the Royal Philharmonic and her recording career includes the solo cello music for the films ‘Hilary and Jackie’ (about the life of Jacqueline du Pré), ‘Truly Madly Deeply’ and ‘Atonement’, with its music written by Dario Marianelli winning him the Oscar for the Best Original Film Score. Marianelli then wrote his Atonement Suite for cello and piano, dedicated to Caroline. Her other recordings include her album ‘Such Sweet Thunder’ which combines classical repertoire with her own recordings.

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ECO London Series 2018/19 Cadogan Hall

Harry Winstanley

Michael Collins

Harry Winstanley studied the flute with Celia Chambers, and was a woodwind finalist in the BBC Young Musician of the Year. He went on to graduate from the University of Cambridge with a first class degree in Music, and then took up post-graduate study at the Royal Academy of Music in London with Michael Cox, William Bennett, Karen Jones and Patricia Morris, supported by the generous help of the Countess of Munster Musical Trust and the Leverhulme Trust. He was appointed ECO principal flute earlier this year and is often seen and heard on radio and television broadcasts and has recorded for a wide range of artists.

Michael Collins is one of the most complete musicians of his generation. With a continuing, distinguished career as a soloist, he has also become highly regarded as a conductor. From 2010 to 2018 he was the Principal Conductor of the City of London Sinfonia.

Recent highlights include performances worldwide with orchestras including Minnesota Orchestra, Swedish Chamber Orchestra, BBC Symphony Orchestra, the Rheinische Philharmonie, Kyoto Symphony Orchestra, BBC Concert Orchestra and Kuopio Symphony Orchestra, a return to the Philharmonia Orchestra as conductor, and tours in South Africa, Australia (with the Melbourne Symphony Orchestra), Japan and Mexico (with the Orquesta Sinfรณnica Nacional).

Michael Collins records for Chandos and has covered a wide range of repertoire in his prolific recording career. He was awarded an MBE for his services to music and plays exclusively on Yamaha clarinets.

Left: Chris Christodoulou; right: Benjamin Ealovega

Flute

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Conductor

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Based in the village of Banyalbufar, we will discover the gloriously unspoilt north coast of Mallorca. There will be visits to the picturesque artists’ village of Deia, the capital Palma and the villa of San Marroig. Our series of private concerts includes a recital in the monastery at Valldemossa where Chopin spent three months with his lover the aristocratic Baroness Dudevant, better known as the writer George Sand.

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ECO London Series 2018/19 Cadogan Hall

Raphaela Papadakis

Lotte Betts-Dean

Raphaela Papadakis made her professional debut at Garsington Festival Opera whilst studying under Janice Chapman at the Guildhall School of Music and Drama. Since then, she has performed with Independent Opera and Bury Court Opera, as well as covering at the Royal Opera House and Staatsoper Berlin. As a recitalist, Raphaela made her debut at Carnegie Hall in 2014 and she is a regular performer at Oxford Lieder Festival. Her prizes and awards include First Prize at the National Mozart Competition, First Prize and Audience Prize at the Clonter Opera Competition, and the York Early Music Festival Prize at the London Handel Festival. She is a Samling, IMA and City Music Foundation Artist.

Praised for her ‘urgent musicality’ (The Guardian), Australian mezzo-soprano Lotte Betts-Dean enjoys a career encompassing opera, oratorio, contemporary music, art song, early music and non-classical collaborations.

After graduating from the Conservatorium of Music at Melbourne University and the Australian National Academy of Music, Lotte moved to London to study at the Royal Academy of Music. She is the recipient of the 2017 Peter Hulsen Orchestral Song Award, an Associate Artist of Southbank Sinfonia and a member of contemporary music collective Ensemble x.y. Recent engagements include a tour of Schoenberg’s Pierrot Lunaire with Manchester Collective and recitals at Hatfield House Chamber Music Festival and Buxton International Festival. Lotte is a 2017 City Music Foundation Artist.

Soprano

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Mezzo-Soprano

The Choir of the 21st Century

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omprising some of London’s most experienced singers, the Choir of the 21st Century (CC21) was founded by its Conductor Laureate, Howard Williams. At the beginning of this year, Max Barley was appointed to succeed him as Conductor and Artistic Director.

CC21 performs a repertoire which is deliberately broad, both sacred and secular, to reflect the depth and richness of the choral

music which is its heritage. Recent work includes Rachmaninov’s Vespers, Strauss’s Deutsche Motette, Britten’s Sacred and Profane, Castelnuovo-Tedesco’s Romancero Gitano and Frank Martin’s Songs of Ariel and Mass for Double Choir. Its recordings on the SOMM label include both the Elgar and Kodály versions of The Music Makers, Philip Glass’s Another Look at Harmony – Part IV and Mátyás Seiber a cappella.

NICOLA BENEDETTI WITH NCO MAIN ORCHESTRA

CELEBRATING TING 40 YEARS

Programme features

PROKOFIEV Violin Concerto No. 2

Sunday 9 December | 7pm

Queen Elizabeth Hall Southbank Centre

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southbankcentre.co.uk 020 3879 9555

Photo: Andrew McCoy

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

Top: Chris Christodoulou; bottom: Allegro Studios, Frederick Bass

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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 across the UK and enjoyed a successful London series with artists including Christian Zacharias, Tenebrae, Jennifer Pike, Tasmin Little and Howard Shelley. International highlights

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included a tour to Mexico with José Serebrier and a sold-out 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.

This 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 they worked with pianists Guher and Suher Pekinel at the Izmir and Istanbul music festivals.

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).

Chris Christodoulou

First violins

Stephanie Gonley Michael Gurevich Jamie Campbell Lucy Jeal Shana Douglas

Second violins

Marcus Barcham-Stevens Richard Milone Natalia Bonner Natasha Hall

Violas

Roger Chase Daisy Spiers Bryony Gibson-Cornish

Cellos

Caroline Dale Reinoud Ford Alexandra Mackenzie

Bass

Paul Sherman

Oboe

Philip Harmer

Trumpet Neil Brough

Harpsichord Chris Bevan

General Management: Fabio Sarlo, Lydia Brookes, Juliette Barber 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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ECO London Series 2018/19 Cadogan Hall

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.

Cadogan Hall, 5 Sloane Terrace, London SWIX 9DQ Box Office: 020 7730 4500 Book online: www.cadoganhall.com

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ENGLISH CHAMBER ORCHESTRA

www.englishchamberorchestra.co.uk/concerts

Cadogan Hall Saturday 16 March 2019, 7.30pm

/ 19N

18D O N 0 2 N O L OE A S S

Ravel Le Tombeau de Couperin

Ben Goldscheider horn Ben Johnson tenor Jessica Cottis conductor Tickets: £15 - £45

Britten Serenade for Tenor, Horn and Strings, Op.31 Purcell/Britten Suite of Six Songs from Orpheus Britannicus Stravinsky Pulcinella Suite

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

www.cadoganhall.com

ECO London Concert Series 2018/19

Mon 29 Oct 2018, 7.30pm Christian Zacharias piano / conductor Beethoven / Schoenberg Queen Elizabeth Hall, London Sun 2 Dec 2018, 6.00pm Christmas with Vivaldi Stephanie Gonley violin / director Michael Collins conductor Cadogan Hall, London

Tues 19 Feb 2019, 7.30pm Ana de la Vega flute Stephanie Gonley director Grieg / Mozart / Myslivecek / Tchaikovsky Cadogan Hall, London

Tues 16 Apr 2019, 7.30pm Stephanie Gonley violin / director Bartรณk / Mendelssohn / Schubert / Suk Cadogan Hall, London

Sat 16 Mar 2019, 7.30pm Ben Goldscheider horn Ben Johnson tenor Jessica Cottis conductor Ravel / Britten / Purcell / Stravinsky Cadogan Hall, London

Wed 22 May 2019, 7.30pm Behzod Abduraimov piano Stephanie Gonley director Stravinsky / Beethoven / Mozart Cadogan Hall, London

www.southbankcentre.co.uk 020 3879 9555 / www.cadoganhall.com 020 7730 4500 The orchestra is indebted to the generous support of its two charitable trusts, the English Chamber Orchestra Charitable Trust and the English Chamber Orchestra and Music Society.

This information was correct at the time of printing. However, the English Chamber Orchestra reserves the right to substitute artists or change programme details if necessary.