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Resident Orchestra of Fairfield Halls, Croydon

Thursday 10 November 2011 7.30pm Fairfield Halls, Croydon Hilary Davan Wetton conductor Maximilian Hornung cello MOZART Symphony No.13 K112 HAYDN Cello Concerto No.2 in D interval britten Variations on a Theme of Frank Bridge mozart Symphony No.29 K201

Please join us after the concert for mingling in the central foyer. This is a great opportunity to chat with tonight始s soloists, conductor and members of the orchestra. The LMP is funded by the London Borough of Croydon

Members of the audience are reminded that it is prohibited to smoke in the auditorium or take sound recordings or photographs in any part of the performance. Any noises such as whispering, coughing, rustling of sweet papers and the beeping of digital watches are very distracting to the performers and fellow audience members. Please make sure mobile phones or pagers are switched off during the performance. In accordance with the London Borough of Croydon, members of the audience will not be permitted to stand or sit in any of the gangways. If standing is permitted in the gangways or the sides and the rear of the seating, it will be limited to the numbers exhibited in those positions. LMP and Fairfield Croydon are registered charities.

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london mozart players Founded by Harry Blech in 1949 as the UK’s first chamber orchestra, the London Mozart Players (LMP) is regarded as one of the UK’s finest ensembles. Under the leadership of Music Director Gérard Korsten the orchestra is internationally renowned for its outstanding live performances and CD recordings and particularly known for its definitive performances of the core Classical repertoire. The LMP also plays an active part in contemporary music, giving many world premières and commissioning new works, especially of British composers. In recent years, the LMP has premièred new works by composers including Sir Peter Maxwell Davies, Tarik O’Regan, Sally Beamish, Cecilia McDowall, Lynne Plowman, and Fraser Trainer. In March 2011, the LMP appointed Roxanna Panufnik as their Associate Composer. Since 1989, the LMP’s home has been Fairfield Halls, Croydon, thanks to generous funding from the London Borough of Croydon. This residency includes a series of subscription concerts at the hall and numerous education and community activities throughout the borough. Touring is a major part of the orchestra’s schedule, with regular appearances at festivals and concert series throughout the UK and abroad. It is Orchestra in Association of The Anvil, Basingstoke, and has strong relationships with other major UK venues, including Turner Sims Concert Hall, Southampton. Overseas, the LMP has visited Spain, Belgium and France and, most recently, Germany. The 2011/12 season marks the second year of conductor Gérard Korsten’s three-year term as the LMP’s fifth Music Director, continuing the strong Classical tradition developed by Andrew Parrott, Matthias Bamert and Jane Glover. The season sees the orchestra continuing to work with established artists including Howard Shelley and Tasmin Little, whilst building new relationships with bright new stars including Maximilian Hornung, Cordelia Williams and Nicholas Collon. The LMP’s new association with Korsten also sees the introduction of some of the best European soloists to our Fairfield season.

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The LMP has developed an extensive and highly regarded education, community and audience development programme, LMP Interactive, and is particularly committed to developing new audiences in outer London boroughs as well as rural areas across the nation. It has an association with the South Holland district in Lincolnshire that brings the orchestra into the heart of the Fenland communities. Working with educational institutions also brings inspiring and valued relationships, providing a professional grounding for young musicians, and the LMP is associated with Royal Holloway University of London, Wellington College, Wimbledon College, Portsmouth Grammar School and the Whitgift Foundation Schools in Croydon. Recent projects include ‘Fly Away Mozart’, involving secondary schoolchildren and composer Michael Omer that was performed in the arrivals hall of Southampton Airport; and ‘Side-by-side in Shepshed’ that saw composer and animateur Fraser Trainer and seven schools in Leicestershire build a new youth orchestra for the area and perform alongside the LMP in a family concert. In Croydon, a START project included children from primary and special needs schools working together to perform at the LMP’s annual Schools’ Concert in Fairfield Halls. Other ongoing ventures include visiting care homes and concert demonstrations in primary and secondary schools. The LMP receives project funding from Arts Council England, Orchestras Live and South Holland District Council. In addition, the LMP receives grants from trusts, foundations and many individuals, particularly the Friends of the LMP in Croydon. Recording has played a major part in the orchestra’s life for many years. Its acclaimed Contemporaries of Mozart series with Matthias Bamert for Chandos numbers over 20 CDs to date, with the latest release of Boccherini proving a success with the critics. A recording with Canadian pianist Alain Lefèvre of works by Mendelssohn, Shostakovich and Mathieu for Analekta was awarded a Canadian Juno Award. Full details of forthcoming concerts and more information on the orchestra’s activities are available on the LMP website: www.lmp.org


ORCHESTRA 1st Violins Marieke Blankestijn Susanna Candlin Victoria Sayles Nicoline Kraamwinkel (Chair supported by Anonymous)

Ann Criscuolo

(Chair supported by Debby Guthrie)

Martin Smith Freddie August Jeff Moore

2nd Violins David Angel Helena Smart

(Chair supported by Noël & Caroline Annesley)

Stephen Rouse Anna Harpham Cecilia Romero Naomi Anner Violas Stephen Wright Michael Posner James Widden (Chair supported by Anonymous)

Cellos Sebastian Comberti Julia Desbruslais Aoife Nic Athlaoich

(Chair supported by Elinor Browne)

Oboes Gareth Hulse

(Chair supported by Pat Sandry)

Katie Clemmow Horns Christopher Newport Tony Catterick

Julia Graham

(Chair supported by Anonymous)

Basses Stacey Watton

(Chair supported by Louise Honeyman)

Tim Amherst

Richard Cookson

(Chair supported by Caroline Molloy & Andrew Lay)

N AT I O N A L CHILDREN’S ORCHESTRA

WINTER 2011 CONCERTS

Sunday 4 December

Under 13 Orchestra 2.30pm Roger Clarkson conductor Programme to include

Williams Harry Potter Symphonic Suite

Main Orchestra 7.30pm Howard Williams guest conductor Programme to include

Telephone 01934 418855 Email mail@nco.org.uk

Tchaikovsky Symphony No. 5 Photo: John Mitchell

Website www.nco.org.uk Registered Charity No. 803026

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HILARY DAVAN WETTON Conductor

Hilary Davan Wetton is one of Britainʼs most versatile and distinguished conductors. He was Principal Conductor of the Milton Keynes City Orchestra from 1975 to 2007; from 1989 to 1996 he was also Principal Conductor of the Wren Orchestra of London. He is Musical Director of three major choirs: the City of London Choir, the Hastings Philharmonic Choir and the Surrey Festival Choir. He was Founder-Conductor of the Holst Singers, and directed them from 1978 to 1992. With them he made a number of recordings of music by Holst, Bliss and Britten, and has also made several outstanding recordings for Hyperion and Naxos with the Guildford Choir and the Royal Philharmonic Orchestra. The City of London Choir has a major annual series in Londonʼs St Johnʼs, Smith Square and also appears regularly at the Barbican Hall, as well as in major venues outside London. Hilary appears frequently as a guest conductor with choirs and orchestras both in Britain and overseas including performances with the RPO, the Hanover Band and the London Mozart Players. He made his debut in Seattle with the Bremerton Orchestra and Chorus in Brahmsʼ Requiem in May 2009. Hilary performs regularly on Radio 3; he has given many premieres both with the BBC Concert Orchestra and with the Ulster Orchestra. Between 1986 and 1989 he conducted a series of first broadcasts of 19th century British symphonies (by Cipriani Potter, Sterndale Bennett, William Crotch and Samuel Wesley) with the Ulster Orchestra. In the opera pit Hilary has appeared on a number of occasions with Travelling Opera, for whom he has conducted Cosi Fan Tutte, The Marriage of Figaro, Carmen and The Barber of Seville. In 1991 he

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conducted for the French company Ballet du Nord, the first ever danced version of Mozartʼs Requiem in a double bill with Stravinsky's Apollo at London's Sadlerʼs Wells Theatre. Recent engagements abroad have included Bulgaria, Iceland, Norway and Australia. In 1995 he made a twelve day tour to the United States with the Milton Keynes Orchestra, culminating in two concerts in New Yorkʼs Carnegie and Town Halls to capacity audiences. He has a long-standing commitment to musicmaking with young people: from 1983 to 1987 he was conductor of the Orchestra of the Birmingham Conservatoire and he has worked with Youth Orchestras as far afield as Melbourne and Singapore. He was conductor of the Scottish Schools Orchestra from 1984-1995 and of the Edinburgh Youth Orchestra from 1994-1997, with whom he toured Scandinavia in 1996 and made a live broadcast on Danish Radio. On his return from this tour he made his debut with the National Childrenʼs Orchestra and was invited to return to them in 1998 for concerts in the Queen Elizabeth Hall and the Bridgewater Hall, Manchester and for their Millennium celebration concerts in 2000. He has since appeared with them regularly and conducted all their concerts in 2008 for their 30th Anniversary Season. He has been awarded honorary degrees by the Open University (MA) and de Montfort University (DMus).


maximilian hornung Cello © Felix Broede

Maximilian Hornung was born in 1986 in Augsburg, where he began taking cello lessons at the age of eight. The teachers with whom he studied most intensely were Eldar Issakadze, Thomas Grossenbacher, and David Geringas. Since winning the German Music Council’s Competition in 2005, Maximilian Hornung has undertaken a rigorous concert schedule. He has appeared at numerous festivals, including the Mecklenburg-Vorpommern, Rheingau, Heidelberg, Kissingen, Ludwigsburg, Luzern, Verbier, Ravinia, and London festivals. Concerts have taken him to the Philharmonie Berlin, Konzerthaus Wien, Concertgebouw Amsterdam, Gewandhaus Leipzig, KKL Luzern, Tonhalle Zürich, Herkulessaal in Munich and London’s Wigmore Hall. His chamber music partners include Christian Tetzlaff, Lisa Batiashvili, François Leleux, Mischa Maisky, Lynn Harrell, Milana Chernyavska and Paul Rivinius. From 2003 to 2011, he was also a member of the Tecchler Trio. Maximilian Hornung has performed as a soloist with the world’s most renowned orchestras, such as the Tonhalle Orchestra Zurich, Bavarian Radio Symphony Orchestra, Berlin Radio Symphony Orchestra, Staatsphilharmonie Rheinland-Pfalz, Tchaikovsky Symphony Orchestra Moscow, Monte-Carlo Philharmonic Orchestra, London Mozart Players and the Southwest German, Württemberg, and Munich Chamber Orchestras.

Maximilian Hornung is first principal cellist of the Bavarian Radio Symphony Orchestra under Mariss Jansons and is supported and sponsored by the Anne-Sophie Mutter Circle of Friends Foundation. In March 2011, he went on tour together with Anne-Sophie Mutter and played at the Philharmonie Cologne, Philharmonie Essen, Laeiszhalle Hamburg and Musikverein Vienna amongst others. Since 2010, Maximilian Hornung has held an exclusive recording contract with Sony Classical. For his first CD with the label, he just received an ECHO Klassik prize as best newcomer of the year and great critical acclaim. Die Zeit wrote: “He controls his cello’s tone, forming it with the utmost devotion but not watching over it too carefully. His genuine musicality consistently leads him in the right direction (…) Hornung seems to come from another world. There is not a hint of unevenness in his playing. Hornung is a man who has reached maturity early, and who combines the cool confidence of a veteran performer with youthful abandon.” His second Sony CD of Dvořák’s Cello Concerto in a recording with the Bamberg Symphony under Sebastian Tewinkel will be released in January 2012.

His debut CD was released on the GENUIN label and was awarded the French Classique-Info Ring prize. Further CDs include a release on Bridge Records featuring the première recording of Yehudi Wyner’s cello concerto with the Odense Symphony Orchestra and a recording of works by Rachmaninoff and Stravinsky.

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wolfgang amadeus mozart (1756–1791) Symphony No.13 K112 I II III IV

Allegro Andante Menuetto Molto allegro

After a tour in Italy which had lasted no less than five months, Mozart and his father Leopold returned to their home town of Salzburg in March 1771. The tour had been very successful and Mozart’s future as a travelling virtuoso and composer seemed assured. Just before returning to Salzburg Mozart had received a commission for a ‘Serenata’ to be performed in Milan as part of the festivities celebrating the marriage between the ruling Austrian Archduke Ferdinand and Princess Maria Ricciarda Beatrice of Modena. This Serenata, Ascanio in Alba, consisted of a considerable number of arias, ensembles and dances which Mozart composed with extraordinary speed after receiving the libretto towards the end of August 1771. By that time he had returned to Milan, and the work brought him ovations from the public and the court when it was first performed on 17th October 1771. Having completed the Serenata, and while he was still in Milan, Mozart composed the Symphony in F, K112. It is not known whether this composition was a result of a commission or whether it was intended for an ‘Academy’, a concert given for the benefit of the composer. K112 follows the pattern of the Viennese symphony in four movements, but the Italian influence is evident in the graceful Andante and in the vivacity of the finale. Perhaps it could be said that what Princess Maria had endeavoured to achieve politically, namely the union of Northern Italy with Austria, is here expressed in the most charming manner and, at least in this symphony, characteristic Italian and Austrian elements live peacefully together in perfect harmony.

FRANZ JOSEPH HAYDN (1732–1809) Cello Concerto No.2 in D I II III

Allegro moderato Adagio Rondo: Allegro

Haydn was not regarded as a composer of concertos, but the D major concerto shows that, when writing for an exceptional performer such as Kraft (who was principal cellist of the Esterhazy orchestra from 1778 to 1790), Haydn could rise triumphantly to the occasion. We may be sure that Kraft was not slow to point out to Haydn the best opportunities for showy passage-work, and the concerto is particularly notable for its frequent use of the cello’s perilous high register. The first movement proceeds at a leisurely pace, and has two very similar themes, both of them ornate in character. The writing for the solo instrument is especially elaborate throughout the movement. The Adagio in which the horns are silent, is little more than a short lyrical interlude before the concluding Rondo, which, as Sir Donald Tovey pointed out, boasts a theme that is oddly reminiscent of the nursery song Here we go gathering nuts in May. The movement is essentially lighthearted, but it encloses an important D minor episode that is in a more serious vein. © Ian Lush

INTERVAL

© Stefan de Haan

Maximilian Hornung will be signing copies of his latest CD in the foyer, during the interval. www.lmp.org


benjamin britten (1913–1976) Variations on a Theme of Frank Bridge I II III IV V VI VII VIII IX X XI

Introduction and Theme Adagio March Romance Aria Italiana Bourrée Classique Wiener Walz Moto Perpetuo Funeral March Chant Fugue and Finale

One of the most astonishing things about Benjamin Britten’s Variations on a Theme of Frank Bridge is the speed with which it was composed. Neel Boyd, a medical man turned conductor, had been invited to take his newly-founded string orchestra to the 1937 Salzburg Festival on the condition that he give a première of an English work. The offer came in May, and the concert was to take place less than three months later. As Boyd recalled, “The prospect seemed well-nigh hopeless; but suddenly I thought of Britten because I had noticed his extraordinary speed of composition during some film work in which we had been associated. I immediately asked him whether he would take on the Salzburg commission, and in ten days’ time he appeared at my house with the complete work sketched out. In another four weeks it was fully scored for strings as it stands today, but for the addition of one bar. This was one of the most astonishing feats of composition in my experience.” Not only was the work finished in time, but there is nothing in Britten’s diary to suggest that he found the time-scale particularly daunting. Perhaps it is unsurprising that Britten found such rapid composition quite easy since he had begun writing music at about age five, almost as soon as he began playing the piano. He started studying the viola at the age of nine and became an accomplished string player. At ten he was taken to the Norwich Triennial Festival, where he heard Frank Bridge conduct his suite The Sea. The effect was nearly overwhelming, and it was repeated three years later when he heard Bridge’s Enter Spring for orchestra. Britten’s viola teacher was a close acquaintance of Bridge (himself a

violist), and she arranged for the young man to meet the composer. Bridge clearly had an enormous influence on the younger man and Britten could not have written a more extraordinary tribute than these variations, based on the second of Bridge’s Three Idylls for String Quartet, Op. 6, (1911), which were to comprise his first really mature score. As Britten was one of the first British composers to rebel against the so-called ‘pastoral school’ of Edward Elgar and Ralph Vaughan Williams, his choice of a decidedly pastoral theme, from Bridge’s second idyll for string quartet, as the basis for his variations was made not without irony: Britten seized upon the theme’s harmonic ambiguities and melodic intervals (particularly the falling fifth) to create a dazzling array of set pieces that stretch far beyond the placid mood of the original theme. The result is a work of tremendous musical innovation with a wide scope of mood and effect, making it one of the finest contributions to the 20th-century string orchestra repertory. Since Britten deplored critical reading of his music, suffice it here to say that his ‘programme’ for the Variations was quite different. On the composition sketch and in his own copy of the published score, he indicated that each movement was meant to portray some characteristic of Bridge. He suggested the Adagio as ‘his integrity’, later changed to ‘his depth’, followed by the March as ‘his energy’, the Romance as ‘his charm’, the Aria Italiana as ‘his wit’, later changed to ‘his humour’, the Bourrée as ‘his tradition’, the Wiener Walz as ‘his enthusiasm’, the Moto Perpetuo adapted as ‘his vitality’, ‘his sympathy or understanding’ reflected in the Funeral March, ‘his reverence’ in the Chant, ‘his skill’ in the Fugue and ‘our affection’ in the Finale. Bridge himself responded warmly to the work. “I don’t know how to express my appreciation in adequate terms,” he wrote to Britten. “It is one of the few lovely things that has ever happened to me.” © Elizabeth Boulton

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wolfgang amadeus mozart (1756–1791) Symphony No.29 K201 I II III IV

Allegro moderato Andante Menuetto: Allegretto – Trio Allegro con spirito

Having spent a large part of his youth touring as an infant prodigy, Mozart returned to Salzburg in March 1773, where he was employed as a court musician by the ruler of Salzburg. Mozart had many friends and admirers in Salzburg and took advantage of the opportunity to compose in many genres. Despite these artistic successes and his increasing musical sophistication, Mozart gradually grew more discontented with Salzburg and made increasingly strenuous efforts to find a position elsewhere. Mozart and his father left Salzburg twice between 1773 and 1777, seeking more elevated positions. Symphony No.29 K201 was composed in April 1774, between extended visits to Vienna and Munich. Symphony No.29 and its immediate chronological predecessor, No.25, are regarded as Mozart’s finest symphonies before the final ten. Mozart had journeyed to Vienna for two months in summer 1773, and perhaps his exposure to the capital inspired him to invest his symphonies with more profound ideas and emotions. In any case, these two early symphonies are not only more substantial in

content but are also a fair bit longer than almost all of the symphonies written earlier. The orchestration is typical of Mozart’s and Haydn’s earliest symphonies, with a decided emphasis on the strings. Edward Tatnall Canby stated aptly that the symphony is “scored simply for strings with inconspicuous oboe and horn contributions”. The scoring belies the extraordinary innovation Mozart makes in the first movement. He precedes Beethoven’s treatment of the development in his Eroica symphony, introducing an entirely new theme in the development section and extending the coda. The Andante, with the strings muted, is an exercise in grace and elegance. The minuet is rhythmically unusual – not the usual straightforward 3/4 time signature at all – and the lovely Trio in E contains surprising depths of feeling. The scurrying Finale, like the opening Allegro, contains numerous imitative passages where a motto is copied by another section of the orchestra. An example lies in the opening of the lyrical second subject, introduced by the second violins and taken up by the first. Mozart also makes use of a tried-and-true device known as the ‘Mannheim rocket’; a rapidly ascending scale that, in this case, leads to an ‘explosion’ only in the cadential two chords that conclude the symphony. © Elizabeth Boulton

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Get to know your player as you see them perform. Take a look at what goes on behind the scenes with access to rehearsals. See your name in the programme alongside your chosen chair.

By supporting an LMP chair your donation will be directly helping the orchestra, enabling us to perform fantastic concerts and carry out inspirational work in schools and in the community. For more information please contact Elinor Browne, Development Manager at the LMP Office, 020 8686 1996 or email elinor@lmp.org www.lmp.org


LMP management Patron HRH The Earl of Wessex KG GCVO

Administration Managing Director Simon Funnell

Music Director GĂŠrard Korsten Associate Conductor Hilary Davan Wetton Associate Composer Roxanna Panufnik

Deputy Managing Director Jo Towler

London Mozart Players Fairfield Halls Park Lane Croydon CR9 1DG

General Manager David Wilson

T: 020 8686 1996 F: 020 8667 0938 E: info@lmp.org W: www.lmp.org

Development Manager Elinor Browne

Registered in England No. 18720034

Concerts & Projects Manager Deborah Guest

Registered Charity No. 290833

Council of Management Chairman Rowan Freeland Chair of the Audit Committee Rosamund Sykes Daniel Benton Simon Funnell Gillian Perkins Peter Van de Geest David Wechsler Malcolm Wicks MP

Marketing & Events Co-Ordinator Caroline Molloy Orchestral Librarian Martin Sargeson

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play your part There are lots of ways for you to get involved with the LMP and ensure the oldest chamber orchestra in the UK has a bright future. Play your part today.

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Conductors’ Circle Our most generous Benefactors belong to this exclusive group. Members of the Conductors’ Circle are closely involved with the musicians and management team and play a significant role in the life of the LMP. In addition to the opportunities enjoyed by all Benefactors, members of the Conductors’ Circle are invited to a sumptuous dinner hosted by the orchestra’s Patron, HRH The Earl of Wessex KG GCVO. If you would like more information about supporting the LMP, please contact Elinor Browne, Development Manager, on 020 8686 1996 or email elinor@lmp.org www.lmp.org


supporting the lmp The LMP would like to thank its supporters Patron HRH The Earl of Wessex KG GCVO Principal Funders London Borough of Croydon Public Funders Orchestras Live Royal Borough of Kingston Upon Thames South Holland District Council Trusts & foundations John Coates Charitable Trust The Concertina Charitable Trust Croydon Relief in Need Charities The Prince’s Foundation for Children & the Arts The Sackler Trust N. Smith Charitable Settlement corporate friends Cantate Elite Hotels Simmons & Simmons conductors’ circle Anonymous x 5 Daniel & Alison Benton Kate Bingham Malcolm & Ann Booth Dan & Jo Davies The Ross Goobey Charitable Trust Anthony & Carole Record Jeffrey & Rosamund West

benefactors Anonymous x 6 Graham Harman André & Rosalie Hoffmann Gillian Perkins John & Ros Rawling Mr & the late Mrs K Smith Peter & Sheelagh Smith Mr D & Mrs M Wechsler life friends Michael & Barbara Hill golden supporters Anonymous x 42 Morag Beier Mr & Mrs C Clementi Mr & Mrs P A Elliott Mr Quintin Gardner Geoff & Mary Hearn Brian & Doreen Hitching Antony Jacubs Margaret Jones MVO Mr & Mrs A J Lambell Derek & Deirdre Lea Jeanne & Gordon Lees Derek & Bunty Millard Miss Gillian Noble Hazel & Geoffrey Otton Robert Keith Robertson David Robinson Christine Robson Mr & Mrs J Tillotson Michael Woodhouse CVO

silver supporters Anonymous x 31 Jean & Gordon Adams Joyce & Stuart Aston Mr M P Black Peter Brent Michael & Janet Considine Nick Cull Mrs E A Dudley The Revd Canon Martin & Mrs Mary Goodlad Mr I A Hamlyn David & Beatrix Hodgson Nick & Jane Mallett Mr Harold Martin Paul Ribbins Mrs Marion Sunley Mr & Mrs M Rivers John Williams Mr B E & Mrs P B Woolnough bronze supporters Anonymous x 42 Alec Botten Mrs Sandra & Mr David Cotton Chantal Keast Mr Denis Protheroe

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forthcoming LMP concerts

Thursday 22 December

3.00pm

BLAKE The Snowman Including a live screening of The Snowman by Raymond Briggs TCHAIKOVSKY Excerpts from The Nutcracker ANDERSON Christmas Festival Plus a selection of other Christmas favourites Conductor

fairfield halls, croydon 020 8688 9291

Saturday 3 March

7.30pm

MOZART PANUFNIK R. STRAUSS

Symphony No.17 K129 Four World Seasons (world première) Le Bourgeois Gentilhomme

Conductor Violin

Gérard Korsten Tasmin Little

Christopher Bell Thursday 26 April

Saturday 28 January

7.30pm

7.30pm

STRAVINSKY McDOWALL BEETHOVEN

Danses Concertantes Theatre of Tango Symphony No.6 Pastoral

Conductor Baritone

Nicholas Collon Jeremy Huw Williams

BEETHOVEN GRIEG BRAHMS

Coriolan Overture Piano Concerto Symphony No.1

Conductor/ Piano

Howard Shelley

If you would like to join the LMP mailing list and receive updates via email, please go to www.lmp.org and click on the “subscribe to email list” link. Alternatively, please email info@lmp.org or call 020 8686 1996. www.lmp.org


Fairfield Halls Nov 11 programme