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Resident Orchestra of Fairfield Halls, Croydon

Thursday 23 May 2013 Fairfield Halls, Croydon 7.30 pm GĂŠrard Korsten Conductor Anthony Marwood Violin

BEETHOVEN Violin Concerto in D major, Op.61 INTERVAL

BEETHOVEN Symphony No. 5 in C minor, Op. 67

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 is 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 by 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 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 has strong relationships with other major UK venues, including Turner Sims Concert Hall, Southampton, and is the Orchestra in Residence for Grayshott Concerts. Overseas, the LMP has visited Spain, Belgium, France and Germany. The 2012/13 season marks the third year of conductor Gérard Korsten’s 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 Anthony Marwood, whilst building new relationships with bright new stars including Nicola Benedetti and Leonard Elschenbroich. Acclaimed young violinist Chloë Hanslip performed with the LMP in the celebrations of Fairfield Halls’ fiftieth anniversary, and we welcome back exciting young conductor Nicholas Collon in April 2013. The LMP’s association with Korsten also continues 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. Its association with the South Holland district in Lincolnshire 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. 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 ‘Side-by-side in Shepshed’ that saw composer and animateur Fraser Trainer work with seven schools in Leicestershire to build a new youth orchestra for the area, which performed alongside the LMP in a family concert. In Croydon, a Start project funded by the Prince's Foundation for Children & the Arts, includes 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. The LMP has an online CD shop, www.shop.lmp.org, which has a large range of LMP's recordings on sale. 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 Ann Criscuolo

(Chair supported by David & Beatrix Hodgson)

Martin Smith

(Chair supported by Debby Guthrie)

Anna de Bruin Richard Blayden Elizabeth Wexler 2nd Violins Jenny Godson David Angel

(Chair supported by Noël & Caroline Annesley)

Andrew Roberts Jayne Spencer Stephen Rouse Raja Halder

Violas Judith Busbridge Catherine Musker (Chair supported by Anonymous)

Reiad Chibah

(Chair supported by Anonymous)

Frances Kefford

(Chair supported by Stuart & Joyce Aston)

Cellos Sebastian Comberti Julia Desbruslais

(Chair supported by Jeanne & Gordon Lees)

Ben Rogerson

(Chair supported by Valerie Butcher)

Daisy Vatalaro (Chair supported by Anonymous)

Basses Stacey Watton

(Chair supported by Louise Honeyman)

Cathy Elliot

(Chair supported by Toby & Eira Jessel)

Flutes Juliette Bausor

Horns Nicholas Korth Nicholas Hougham

Robert Manasse

Trumpets Paul Archbald Peter Wright

(Chair supported by Brian & Doreen Hitching) (Chair supported by Barbara Tower)

Piccolo Nicolas Bricht Oboes Gareth Hulse

(Chair supported by Pat Sandry)

Katie Clemmow

Trombones Ian White Jeremy Gough Ian Fasham Timpani Ben Hoffnung

Clarinets Marie Lloyd Juliette Bucknall (Chair supported by Christopher Fildes)

Bassoons Adam MacKenzie (Chair supported by Alec Botten)

Robert Porter Contra Bassoon Jacqueline Hayter

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Born in South Africa, Gérard Korsten began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and with Sándor Végh in Salzburg. Following his studies in the US and Europe, he became Concertmaster and Assistant Music Director of the Camerata Salzburg and later Concertmaster of the Chamber Orchestra of Europe from 19871996 after which he left the COE to concentrate on conducting. Gérard Korsten is currently Music Director of the London Mozart Players and Principal Conductor of the Symphonieorchester Vorarlberg Bregenz. Korsten held positions as Principal Conductor of the State Theatre in Pretoria and the Uppsala Chamber Orchestra before he was appointed Music Director of the Orchestra del Teatro Lirico di Cagliari from 1999-2005. In Cagliari he conducted the first Italian performances of Richard Strauss’s Die ägyptische Helena, Weber’s Euryanthe, Delius’s A Village Romeo and Juliet and Schubert’s Alfonso und Estrella, as well as the productions of the core operatic repertoire including Die Zauberflöte, Don Giovanni, Lucia di Lammermoor, Carmen, Die Fledermaus, Tosca, Aïda, The Barber of Seville and Don Pasquale. Since then Gérard Korsten has appeared in most notable opera houses and concert halls around Europe including Teatro La Scala Milan (Le nozze di Figaro), Maggio Musicale Florence (Così fan tutte), Teatro Reggio di Parma (La sonnambula), Teatro Lirico Verdi Trieste (Don Pasquale and La fille du régiment), Opéra de Lyon (Ariadne auf Naxos, Henze’s L’Upupa und der Triumph der Sohnesliebe, Siegfried and La traviata), Royal Swedish Opera (Don Giovanni), Netherlands Opera (Così fan tutte), English National Opera (Aïda) and Glyndebourne Festival Opera (Albert Herring). www.lmp.org

© Marco Borggreve

GÉRARD KORSTEN Conductor

His past orchestral engagements have included concerts with the Budapest Festival Orchestra, Salzburg Mozarteum, Orchestra Sinfonica Nazionale della Rai Turin, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Deutsche Kammerphilharmonie, Swedish Radio Symphony, Yomiuri Nippon and Melbourne Symphony orchestras. His recordings include Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon, Die ägyptische Helena, Euryanthe and Alfonso und Estrella with Orchestra del Teatro Lirico di Cagliari on CD and DVD with Dynamic, as well as a DVD recording of Don Pasquale released on TDK. His 2011 DVD of Le Nozze di Figaro (La Scala 2006) has been awarded a Diapason D’Or and was the Critic's Choice in the Opera News in February 2012. Last season Gérard Korsten toured with the Irish Chamber Orchestra in the US and with the London Mozart Players in Spain. He returned to Opéra National de Lyon, conducting performances of Offenbach’s La Vie Parisienne and he conducted concerts with the Budapest Festival Orchestra, Megaron Camerata and Camerata Salzburg in both Vienna and Salzburg. In the 2012/13 Gérard Korsten makes his debuts with the Deutsche Radio Philharmonie in three concerts in Saabruecken, Kaiserlautern and Mainz and with the Adelaide Symphony Orchestra in Australia. He conducts a new production of Don Giovanni at Dijon Opera with the Chamber Orchestra of Europe and returns to the BBC Scottish Symphony, Latvia National Symphony, the Hong Kong Philharmonic, and SWR Sinfonieorchester Freiburg, among others.


British violinist Anthony Marwood is internationally renowned as a charismatic and versatile soloist, director and creative collaborator, having won worldwide critical acclaim for his formidable technique and exceptional artistry. Highlights this season include the Austrian premiere of Steven Mackey’s concerto Beautiful Passing with the Radio-Sinfonie-Orchester Wien, a debut tour with Amsterdam Sinfonietta as soloist/director, Brahms’ Double Concerto with the Aurora Orchestra, Britten’s Double Concerto with Lawrence Power and the BBC National Orchestra of Wales, a recital with Aleksandar Madžar in Detroit, Mozart’s Concerto No.2 with the Vancouver Symphony, and a return to Les Violons du Roy as a soloist/director. Recent highlights include a performance of Thomas Adès’ violin concerto Concentric Paths with David Robertson and the Sydney Symphony at the Sydney Opera House, A Soldier’s Tale at the Cheltenham International Music Festival, concerts at the Delft Chamber Music Festival, a recital with his duo partner pianist Aleksandar Madžar at the Snape Proms in Aldeburgh, a concerto tour of Australia and New Zealand, and a recital tour with Aleksandar Madžar, presented by Musica Viva. Last season he joined the Academy of St Martin in the Fields as a soloist/leader for an all-Mozart programme and in another concert for the London premiere of Steven Mackey’s Four Iconoclastic Episodes. He gave his solo debuts with the Sao Paulo Symphony, Musikkollegium Winterthur, Orquestra Sinfonica de Galicia and Norrlands Orchestra (Sweden). He also played with Andrew Davis and the BBC Symphony for the London premiere of Hugh Wood’s Violin Concerto No.2. At Wigmore Hall, he

© Pia Johnson

ANTHONY MARWOOD Violin

gave three concerts with Aleksandar Madžar of works by Brahms, Schubert and Schumann, all of which were recorded for release on Wigmore Hall Live. Violin concertos that have been written for Anthony Marwood include Thomas Adès Concentric Paths, Sally Beamish’s 1995 concerto, and a concerto by Ross Harris, premiered with the New Zealand Symphony. The Adès concerto was first performed in Berlin and at the BBC Proms, with the Chamber Orchestra of Europe conducted by the composer; its recording on EMI was Gramophone’s Recording of the Month. Marwood has recorded more than 30 CDs for Hyperion, including much of the core trio repertoire with the Florestan Trio, and Stravinsky’s complete music for violin and piano with Thomas Adès. His recording of the violin concertos by Peteris Vasks and Kurt Weill has been described as “gripping from start to finish”. His most recent disc features Schumann’s late works for violin and orchestra, with Douglas Boyd and the BBC Scottish Symphony. Earlier in 2012 his recording of the Britten Concerto received widespread critical acclaim. A CD of Brahms sonatas with Aleksandar Madžar, for the Wigmore Live label, has been hailed a new “benchmark recording” by BBC Music Magazine. The duo’s second Wigmore Live release, with the violin sonatas by Robert Schumann, will be available from May 2013. The Royal Philharmonic Society named Anthony Marwood ‘Instrumentalist of the Year’ in 2006. He is the co-Artistic Director of the Peasmarsh Chamber Music Festival and teaches annually at the Yellow Barn Festival in Vermont. He plays a 1736 Carlo Bergonzi violin, kindly bought by a syndicate of purchasers. www.lmp.org


LUDWIG VAN BEETHOVEN (1770– 1827)

Violin Concerto in D major, Op. 61 I II III

Allegro ma non troppo Larghetto Rondo: allegro

Beethoven wrote his Violin Concerto in 1806, and a year later arranged it for piano and orchestra, following a commission from Franz Clement, Director and First Violin of the Theater an der Wien. However, the relationship between Clement and Beethoven was not a happy one, particularly when the violinist chose to insert his own virtuosic showpieces between the movements of Beethoven's work at its first performance! This concerto is one of Beethoven's most serene works, written at a time of relative personal happiness for its composer. Beethoven's relationships with his friends, both male and female, were always tempestuous, but at this time he was in love with Therese von Brunswick, a young widow, and he felt that he might at last have found someone he could marry and live with happily (in the event it did not come to this). The work is scored for a classical orchestra, including trumpets and timpani, but no trombones and only one flute. It is the timpani that opens the first movement, with five quiet notes – a rhythmic pattern that is to assume increasing importance throughout the movement. They herald a lovely melody that sets the tone for the whole of this expansive Allegro ma non troppo – lasting nearly 30 minutes. Another featured instrument in the orchestra is the bassoon (one of Beethoven's www.lmp.org

favourites), which has a lovely duet with the soloist in the final section of this movement. The Larghetto middle movement is also predominantly gentle in atmosphere, with some notable writing for the woodwind in duet with the soloist. The movement takes the form of a theme with variations, in either G minor or major – significantly, Beethoven chooses the key of G rather than the more obvious A for this movement, preferring the darker colours this gives to the orchestral sound. After two such movements the finale necessarily provides much contrast, being a rumbustuous dance with a rustic feel, bringing to mind the Pastoral Symphony that Beethoven completed a year later in 1808. The first bassoon again has a prominent role, and the orchestra and soloist end up as near equals – although the soloist always retains the more joyous ornamentation in its melodic writing. © Ian Lush


LUDWIG VAN BEETHOVEN (1770– 1827)

Symphony No. 5 in C minor Op. 67 I II III IV

Allegro con brio Andante con moto Scherzo: Allegro Finale: Allegro

Let us not commit Beethoven to what he once said about the opening of his Fifth Symphony: ‘Thus fate is knocking at the door’. Trying to express the sense of music in words is a vain undertaking, and when Beethoven made this statement to Schindler, his devoted assistant but suspect reporter, he surely touched on only one aspect of this well-known theme. It is not, in fact, a self-contained motif but a point of departure for the kind of potential developments only Beethoven could have foreseen. It is also the nervous pulse in a movement of unusual power and concentration. We can obtain a greater insight into the meaning of this theme if we examine Beethoven’s sketches, which have been preserved. From these we can see that the composition of the Fifth Symphony took no less than three years. The first sketches appear in 1805, but the Symphony was (probably) only completed in March 1808. The first performance took place in December 1808. The sketch-books give us an idea of Beethoven’s ingenious method of composition. Themes or motifs intended for one composition were often transferred to other works if Beethoven’s architectural intuition rejected them for the one he had planned originally. Thus the opening theme of the Fifth Symphony appears side by side with sketches for Piano Concerto No. 4 in G in which the figure of ‘fate knocking at the door’ assumes

a much more gentle character. Sketches relating to the Symphony also include the insistent beat that dominates the first movement of Beethoven’s Violin Concerto. They show how Beethoven, having transferred the less dramatic versions of the symphonic theme to other works, gradually developed and concentrated the main subject of the first movement from which the entire Symphony was to grow. Once the character of the theme and its development was established, the other movements followed without anything like the effort involved in creating the form of the first movement. Sketches for the other three movements appear in recognisable form soon after those for the opening Allegro con brio. The first idea for the second movement was conceived as a minuet in A flat and a trio in the same key, which became the triumphant second theme in C major. A little later, sketches in this key appear with the note ‘trombe, corni’ (trumpets, horns), and thus the character of the movements with its variations on the two themes in different keys was established. There are many sketches for the third movement, which apparently took some time to assume its present form. What is most interesting, however, is that with these sketches Beethoven quoted no less than 29 bars of the last movement of Mozart’s Symphony No. 40 in G minor. Though key and time signature are different, Mozart’s theme betrays an obvious relationship with Beethoven’s Scherzo, and it is revealing and moving to discover that Beethoven unashamedly wrote down Mozart’s theme when he developed his own, so to speak, in sympathy.

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In his early sketches Beethoven elaborated an idea for the finale, which he later abandoned. His Ninth Symphony, with its present choral finale, initially had a totally different wholly instrumental theme, which later became the main subject of the finale in his String Quartet in A minor, Op. 132. This illustrates how, as a composer, one must take the wrong turns first in order to find the right ones in the end. When the sketches for the Scherzo were sufficiently advanced, they prompted the extraordinary, initially mysterious link with the finale – an extended passage that arouses expectation but also anticipates the bright key of C major just before it is reached in all its glory at the beginning of the finale where the trombones play for the first time in the Symphony. This juxtaposition of two contrasting harmonies is a characteristic device that Beethoven also used in the Eroica and Ninth symphonies. An entirely new idea was the reminiscence of the Scherzo in the middle of the finale of the Fifth Symphony.

The seemingly endless succession of C major chords that brings the work to its conclusion is justified by the tremendous concentration that preceded it, not only in the last movement but in the entire Symphony. What an experience it must be to hear this work for the first time! But if we can recreate this experience and combine it with an understanding of how Beethoven assembled his themes from the sketches over a period of three years – discarding what did not fit, even at a stage when the first movement had only just begun to take shape – our appreciation of this Symphony will have acquired a new dimension. © Stefan de Haan

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SEASON HIGHLIGHTS • •

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70th birthday programmes conducted by Hilary Davan Wetton 'BBC Young Musician of the Year' competition cellist Laura van der Heijden with Elgar's Cello Concerto Two concerts with Howard Shelley World-class soloists Mark Simpson, Anthony Marwood, Claire Rutter & Angela Hewitt

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Beautiful music from Haydn, Mozart and Rossini, to Beethoven, Dvořák, Schubert, Schumann, Poulenc, Mendelssohn, Strauss, Ravel, Vaughan Williams & Tippett New 'informal' concerts to bring you closer to the music


LMP MANAGEMENT Patron HRH The Earl of Wessex KG GCVO Music Director Gérard Korsten Associate Conductor Hilary Davan Wetton

Administration Managing Director Simon Funnell General Manager David Wilson

London Mozart Players Fairfield Halls Park Lane Croydon CR9 1DG

Development Manager Caroline Downing

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

Board of Directors

Marketing & PR Manager Chloë Brookes

Registered in England No. 18720034

Chairman Rowan Freeland

Concerts & Projects Manager Caroline Molloy

Registered Charity No. 290833

Chair of the Audit Committee Rosamund Sykes

financial consultant Christopher Wright

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Daniel Benton Simon Funnell Richard Morgan Gillian Perkins David Wechsler

Orchestral Librarian Martin Sargeson

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Associate Composer Roxanna Panufnik

Intern Jenny Brady

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From world-class concerts to inspiring education projects, none of the LMP’s work would be possible without the financial support we receive from our Benefactors. Our Benefactors are musical patrons, following in the footsteps of those generous, passionate and committed philanthropists who, throughout the centuries, have enabled great musicians to perform and compose. Benefactors make an annual donation of £1000 and above and enjoy a unique programme of events, including access to rehearsals, exclusive recitals, gala concerts and special receptions throughout the year. Start your own creative partnership and become a Benefactor.

Making a gift in your will Making a legacy gift to the LMP is a great way to ensure that future generations of audiences can continue to be inspired by the orchestra that has inspired you. If you have a will or are making one, this would be a good way to make a lasting provision for the future of the orchestra and because the LMP is a registered charity, your donation to us can help reduce your tax liability. If you have already remembered LMP in your will, we are very grateful. If you would like to, do please let us know (in strictest confidence). We would value the opportunity to thank you and to keep you more closely involved with our work. If you would like more information about any of these ways of supporting us, please contact Caroline Downing, Development Manager, London Mozart Players T: 020 8686 1996 or email development@lmp.org

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SUPPORTING THE LMP The LMP would like to thank its supporters Patron HRH The Earl of Wessex KG GCVO Principal Funder London Borough of Croydon Public Funders Orchestras Live South Holland District Council Corporate Sponsor M&G Investments Trusts & foundations The Andor Charitable Trust The Concertina Charitable Trust Croydon Relief in Need Charities The Foyle Foundation The Matthew Hodder Charitable Trust The Austin & Hope Pilkington Trust The Prince’s Foundation for Children & the Arts The RK Charitable Trust N. Smith Charitable Settlement The Steel Charitable Trust corporate friends Elite Hotels Simmons & Simmons conductors’ circle Anonymous x 5 David and Ann Benson Daniel & Alison Benton Barry and Sue O'Brien Joanna & William Brogan-Higgins Rowan & Davina Freeland The Ross Goobey Charitable Trust Jeffrey & Rosamund West

benefactors Anonymous x 4 Graham Harman André & Rosalie Hoffmann Gillian Perkins Sir Roger & Lady Sands Peter & Sheelagh Smith Mr D & Mrs M Wechsler life friends Michael & Barbara Hill golden supporters Anonymous x 19 Morag Beier Mr & Mrs M C Bushell Mr & Mrs C Clementi Mrs Patricia Coe Mrs Jill Dalton John Dear Mr Quintin Gardner Geoff & Mary Hearn Michael & Barbara Hill Brian & Doreen Hitching Margaret Jones MVO Mr & Mrs A J Lambell Derek & Deirdre Lea Jeanne & Gordon Lees Mr John Mead Mrs Bunty Millard Mr & Mrs M E Milliken Miss Gillian Noble Hazel & Geoffrey Otton Mr J B Price Ros & John Rawling Robert Keith Robertson David Robinson Christine Robson Miss A E Stoddart Jean-Anne & John Tillotson Barbara Tower

silver supporters Anonymous x 21 Irene & Leslie Aarons Mr M P Black Mr Nick Cull Miss Rowena Forbes Mr & Mrs Frank Hercliffe David & Beatrix Hodgson Chantal Keast Nick & Jane Mallett Mr Dennis Protheroe Mr & Mrs M Rivers Mr Brian J Stocker George Sutherland Mrs R Whittingham Mr B E & Mrs P B Woolnough bronze supporters Anonymous x 11 Mr George Bray The Revd Canon Martin & Mrs Mary Goodlad Mr I A Hamlyn Mrs P Hirst Mrs Rosemary Kemp Mrs JMP Marlow Mrs M Mattingly Mr and Mrs C McCarthy Mrs N Roberts Mrs Claire Smith Mr David Smith Mrs Judith Spencer-Gregson Roger and Linda Stevens Mrs M A Sunley Mrs Rosemary Whittingham

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FRIENDS OF THE LONDON MOZART PLAYERS

FORTHCOMING CONCERTS Fairfield Halls, Croydon Thursday 10 October 2013 Rossini Mozart Schubert

7.30pm

L'Italiana in Algeri Overture Symphony no 40 in G minor, Symphony no 6 in C major, D 589 "Little C Major"

Conductor Gérard Korsten Thursday 7 November 2013

7.30pm

Warlock Elgar Vaughan Williams

Capriol Suite Concerto for Cello in E minor, Symphony No. 5

Cello Conductor

Laura van der Heijden Hilary Davan Wetton

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Thursday 12 December 2013

7.30pm

Mozart Mozart Ginastera Schubert

Overture to Don Giovanni Concerto for Clarinet in A major Concerto for Strings, Op.33 Symphony no 1 in D major, D 82

Conductor Clarinet

Gérard Korsten Mark Simpson

Monday 23 December 2013

3pm

Howard blake Raymond Briggs' The Snowman Film with live orchestra, christmas favourites


LMP May 2013 Fairfield Halls