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Resident Orchestra of Fairfield Halls, Croydon

Thursday 26 April 2012 St John's Smith Square 7.30 pm Howard Shelley Conductor/Piano BEETHOVEN Coriolan Overture, Op 62 GRIEG Piano Concerto in A minor, Op.16 INTERVAL

BRAHMS Symphony No. 1 in C minor, Op. 68

Please join us after the concert for mingling in the central foyer. This is a great opportunity to chat with tonight'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 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 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 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.

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. Projects here currently include South Holland Symphony, a new orchestral piece inspired by the local landscape, being created in a series of workshops for local participants that will be showcased by the LMP in July 2012. 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 ‘Side-byside 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 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. Full details of forthcoming concerts and more information on the orchestra’s activities are available on the LMP website: www.lmp.org

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ORCHESTRA 1st Violins Marieke Blankestijn Catherine van de Geest Ann Criscuolo Martin Smith (Chair supported by David & Beatrix Hodgson)

Richard Blayden (Chair supported by Debby Guthrie)

Anna de Bruin Beatrice Lovejoy 2nd Violins David Angel Andrew Roberts

(Chair supported by Noël & Caroline Annesley)

Jayne Spencer Stephen Rouse Anna Harpham Raja Halder

Violas Judith Busbridge Cian O'Duill Simone van der Giessen (Chair supported by Anonymous)

Michael Posner

(Chair supported by Caroline Molloy & Andrew Lay)

Rachel Calaminus Cellos Sebastian Comberti Julia Desbruslais Sarah Butcher (Chair supported by Elinor Wood)

Ben Chappell

(Chair supported by Anonymous)

Julia Graham

Flutes Daniel Pailthorpe

(Chair supported by Brian & Doreen Hitching)

Robert Manasse (Chair supported by Barbara Tower)

Oboes Gareth Hulse

(Chair supported by Pat Sandry)

Trumpets Paul Archibald Peter Wright

Katie Clemmow Clarinets Angela Malsbury

(Chair supported by Stuart & Joyce Aston)

Margaret Archibald (Chair supported by Christopher Fildes)

Basses Stacey Watton

Bassoons Sarah Burnett

Cathy Elliott

Emma Harding

(Chair supported by Louise Honeyman)

Clare Webster Horns Christopher Newport Tony Catterick Richard Lewis Martin Grainger Jesse Durkan

Trombones Ian White Danny Scott Ian Fasham Timpani Ben Hoffnung

(Chair supported by Alec Botten)

Contra Bassoon

GIVE THE ORCHESTRA A LEG UP... SUPPORT AN LMP CHAIR From as little as £20 a month, you can sponsor an LMP chair and enjoy a special connection with the orchestra. • • •

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. Please contact Sue McCrossan, LMP Development Manager, for more information T: 020 8686 1996, E: sue@lmp.org www.lmp.org

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After winning the premier prize at the Royal College of Music at the end of his first year, Howard Shelley's career began with a highly successful London recital and a televised BBC Proms concert with the London Symphony Orchestra under Michael Tilson-Thomas in the same season. Since then he has performed regularly throughout the UK, Europe, Scandinavia, North America, Russia, Australia, and the Far East. He has also made over 120 highly acclaimed commercial recordings. As pianist he has performed, broadcast and recorded around the world with leading orchestras and conductors including Ashkenazy, Boulez, Boult, Davis, Jansons, Rozhdestvensky and Sanderling. In a unique series of five London recitals, broadcast by the BBC, he played Rachmaninov's complete solo piano music. He has given complete cycles of Rachmaninov concertos with the Royal Scottish National, Beethoven concertos with the BBC Philharmonic and, most recently, all the Mozart Piano Concertos programmed with Haydn’s six ‘Paris’ and twelve ‘London’ symphonies in Italy with the Orchestra di Padova et del Veneto. He has designed and performed themed series around Mozart with the London Mozart Players, Camerata Salzburg and Munich Symphony and Orchestra di Padova et del Veneto. As conductor Shelley has performed with the London Philharmonic, London Symphony and Royal Philharmonic orchestras, the Philharmonia, Royal Scottish National and Ulster orchestras as well as the Hong Kong Philharmonic, Filarmonica de la Ciudad de Mexico, Munich Symphony, Seattle Symphony,

© Eric Richmond

HOWARD SHELLEY Conductor / Piano

Naples Philharmonic, Singapore Symphony Orchestra, Melbourne Symphony Orchestra and West Australian Symphony Orchestra, amongst many others. He has held positions of Associate and Principal Guest Conductor with the London Mozart Players in a close relationship spanning thirty years. He has toured with them to Japan, Korea, Sweden, Italy, Holland, the Czech Republic, Ireland and has a seventh German tour with them in 2012. Their many recordings together have in every case received exceptional critical acclaim. Shelley has also been Principal Conductor of Sweden's Uppsala Chamber Orchestra and works regularly with the Orchestra di Padova e del Veneto in Italy, the Orchestra of SwissItalian Radio in Lugano, Sinfonia Varsova in Warsaw and Australia’s Tasmanian Symphony Orchestra. He is involved in several recording projects in Lugano and Hobart. Other chamber orchestras with whom he has worked include the English Chamber Orchestra, Scottish Chamber Orchestra, Swedish Chamber, Zurich Chamber, Netherlands Chamber & Stuttgart Chamber orchestras, the Northern Sinfonia, Ensemble Orchestral de Paris, Orchestre de Picardie, Leipzig Kammerphilharmonie, Camerata Salzburg and Hong Kong Sinfonietta. He has appeared on television since the age of ten when he gave a recital of Bach and Chopin. He was soloist at the 100th anniversary of the Promenade Concerts, a concert which was televised worldwide. A documentary on Ravel made in 1998 by the Australian Broadcasting Commission, featuring Shelley as conductor, pianist and presenter won the Gold Medal for the best arts biography of the year at the New York Festivals Awards.

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Currently recording for the top two British independent labels, Chandos and Hyperion, Shelley's discography includes award-winning sets of Rachmaninov's complete piano music and concertos, series of Mozart and Hummel concertos, Gershwin's works for piano & orchestra, a series of British concertos (Alwyn, Bridge, Howells, Rubbra, Scott, Tippett and Vaughan Williams) for Chandos and many contributions to Hyperion’s Romantic Piano series such as concertos by Moscheles, Herz, Hiller, Kalkbrenner. Most recent recordings include the piano concertos of Schumann, Grieg and Saint-Saëns (2nd) as conductor and soloist of the Orchestra of Opera North for Chandos which won a “Choc de l’année” in the French press and a boxed set of the complete works for piano and orchestra of Beethoven, both for Chandos and on Hyperion’s label a 4-CD boxed set of Haydn’s ‘London’ symphonies and a twelve-CD survey of Clementi sonatas.

Howard Shelley is married to fellow pianist Hilary Macnamara, with whom he has performed and recorded in a two-piano partnership, and they have two sons. In 1994 an Honorary Fellowship of the Royal College of Music was conferred on him by HRH The Prince of Wales. In the 2009 New Year’s Honours he was awarded an OBE for services to classical music.

New for 2011/12! The LMP now has an online shop! Visit shop.lmp.org to see all of our recordings

LMP CDs are also available on the LMP table

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LUDVIG VAN BEETHOVEN (1770-1827) Coriolan Overture, Op. 62 Richard Wagner was right to point out that Beethoven might as well have written this overture for Shakespeare’s tragedy Coriolanus as for the play by Heinrich von Collin. Unlike Wagner and most concert-goers today, Beethoven knew both plays. He admired and loved Shakespeare enormously, but Collin was a friend of his, and his Coriolan had enjoyed considerable popularity in the years immediately following its first performance in 1802. Beethoven was inspired, either by friendship or theatre, to put something of the story into music.

The Coriolan Overture is terse and strongly knit; it is as compact as anything Beethoven had written at the time. Beethoven finds enormous power in C minor, his favourite minor key. (Sketches for his Fifth Symphony, in the same key, were already well advanced at the time.) As in his Leonore Overture No. 3, finished the year before, he understood how to manipulate the outlines of sonata form to accommodate human drama. (Here, only the second theme appears in the recapitulation.) The music ends with three almost inaudible plucked notes. © Elizabeth Boulton

The story (drawn from Plutarch’s Lives) is of a patrician Roman general destroyed by his overweening pride. After a decisive victory over the Volscians, Coriolanus refuses the consulship of Rome because it requires him to humble himself before the plebeians. Enraged at his arrogance, the people drive him into exile, but the wilful general seeks revenge; he defects to his former enemies, the Volscians, and leads them against Rome. He battles his way to the very gates of Rome, where his compatriots send delegation after delegation asking him to spare his own city. When the stiff-necked warrior remains obdurate, his wife, mother and son go out to plead with him and he finally relents. Furious at his betrayal, the Volscians put him to death. Many listeners have heard, in its tightly-worded argument, the conflict between Coriolanus, the exiled leader who marches against his own people, and his mother Volumnia, who pleads for mercy until her son finally yields. The main themes readily lend themselves to this reading – the first fierce and determined, the second earnest and imploring. In the play, Coriolanus commits suicide; Beethoven’s music disintegrates at the end. Beethoven surely identified with Coriolanus’s lonely pride, for it marked every day of his own life.

Beethoven

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EDVARD GRIEG (1843-1907) Piano Concerto in A minor, Op.16 I I III

Allegro molto moderato Adagio Allegro moderato e marcato - Quasi presto – Andante maestoso

Few, if any romantic compositions are as immediately identifiable as the Grieg piano concerto. Only Tchaikovsky’s first can claim comparable status. The opening timpani roll and massive A minor chords, cascading from top to bottom of the keyboard, have been featured in countless concerts, films, broadcasts and even comedy sketches. They have become a reference point for Everyman that defines a certain concept of classical music. And yet, they were the work of a 24 year-old unknown, born in the north European backwoods into a country yet to claim its independence. Indeed, one of Grieg’s contradictions, as a so-called ‘nationalist’ composer is that, like his compatriot Ibsen, he made part of his career outside Norway, chosing warmer, more cosmopolitan Denmark. Accordingly it was in 1868, in Copenhagen, that his piano concerto was to be first performed, by contemporary accounts to the sort of tumultuous acclaim it has enjoyed ever since. There was, however, nothing backwoods about Grieg’s musical education. Once his talent had been spotted, he was packed off as a young teenager to the Leipzig Conservatory, then the forcing ground of the continent’s leading musical talent. Grieg hated it there, claiming that he left as stupid as he arrived, yet the tension between his high-classical training and the folk traditions absorbed from his earliest years were to define him as a composer. Back in Copenhagen, Grieg’s mentor, the composer Niels Gade, encouraged him to write a symphony, without much success. Instead, he wrote the concerto, partly as a vehicle for his own pianistic talents, and his first major work.

As Grieg’s career developed, it became clear that the miniature was to form the central nervous system of his music, typically in the ten volumes of Lyric Pieces for piano, and the 140 songs. Nevertheless, if the Piano Concerto is an untypical work, a work of the composer’s youth, it remains his best known, and for good reason. Its relaxed, uncomplicated lyricism shines through in each movement, particularly in the central D flat romanza. In 1867, when writing the concerto, Grieg was in love with his cousin, Nina Hagerup, who he was to marry that year. Something of his state of mind can surely be heard in this tender, radiant, yearning movement. In the years since returning from Leipzig, Grieg had re-immersed himself in Norway’s folk music, and its characteristic inflections can be heard in every melody. The third movement opens with a Norwegian halling, a relative of the Scottish reel, which Grieg later recasts as a triple-time "springdans" (running dance). As well as the folk dances and soulful melodies, Grieg pulls off the unusual trick (for romantic music) of grandeur without bombast, never more so than at the expansive climax of the second movement and the finale’s magnificent close. Grieg became one of the most fêted and successful musicians of his time, yet like many an artist, remained riven by insecurity over the true worth of his art. It was perhaps for this reason that the concerto remained something of a work in progress, undergoing numerous revisions. The last of these, completed in the final year of his life, is the one we hear today. © Matthew Greenall

INTERVAL

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JOHANNES BRAHMS 1833–1897 Symphony No. 1 in C minor, Op. 68 I II III IV

Un poco sostenuto – Allegro Andante sostenuto Un poco allegretto e grazioso Adagio –Allegro non troppo ma con brio

There are few symphonies of any era that open as imposingly as Brahms’ first. The pounding, repetitive bass, the rising, high chromatic line in the strings set against the falling cries of wind and brass establishes from the outset a powerful and tragic momentum. This is serious music indeed. For Brahms, writing a symphony represented an arduous and high risk undertaking. Mozart had written his first symphony aged eight, Mendelssohn in his teens, Beethoven in his early twenties. Brahms was 43 at the time of the first symphony’s premiere. Yet his predecessors were not the self-conscious inheritors of an illustrious, historic tradition, as Brahms had become. He talked of hearing the tramp of the great Beethoven behind him. And Brahms’ interpretation of tradition extended well before Beethoven to the earlier German masters, Bach, Schütz and Praetorius, in whose music he took an antiquarian interest and whose influence, heard on occasion in this symphony, he integrated within his own work. A symphony had been on Brahms’ horizon since the early 1850’s. The D minor piano concerto and the two orchestral serenades may have started as symphonic ideas. An early version of the symphony’s first movement, without its introduction, existed by 1862, and the aspirational ‘alphorn’ theme of the last movement came in 1868, when Brahms sent it to Clara Schumann. Composition seems only to have begun in earnest however in the 1870’s. Unusually for Brahms, retouchings and rewritings continued right up to the first performance.

redundant formula. The block broken, three more symphonies followed over the next decade. Brahms’ massive symphonic opening leads into a restless, angular, fate-charged sonata form movement, mostly built from the material heard in the introduction. After this intense beginning, the serenade-like second movement offers respite, its songful melody blossoming into an extensive peroration for the strings before solos for oboe, horn and violin bring it full circle. There follows one of Brahms’ intermezzi, a deceptively skilful, amiable creation of sinuous counterpoint and lilting cross rhythm. The finale is both the longest and most complex of the four movements, though in overall form it resembles an expanded version of the first. Again, there is a brooding introduction, before the ‘alphorn’ theme already mentioned is heard and then a chorale, whose recurrence will be held back until the triumphant closing pages. It is however the spacious C major theme following the chorale that gets the movement truly underway and offers the mainspring of its invention. Premiered in November 1876, Brahms’ symphony had been more than twenty years in gestation. Three months earlier, also in newly-unified Germany, in a specially built theatre and at bankrupting cost, another labour of decades was finally staged. It is hard to imagine anything more distinct from Brahms’ artistic and personal values than The Ring of the Nibelung, with its ‘gesamtkunstwerk’ aesthetic, its glorification of erotic love and inchoate, apocalyptic politics (the old order going up in flames). It was, however, a fateful dichotomy not lost on contemporaries and that presaged, albeit distantly, consequences ahead. © Matthew Greenall

The resultant work was very much in the classic Beethoven mould of strenuous yet ultimately triumphant journey from darkness to light, told in purely instrumental terms. Brahms’ first shared a key with Beethoven’s fifth, and some of its thematic ideas were distinctly Beethovenian too. Yet Brahms had re-interpreted Beethoven’s achievement in the darker hues and more complex language of the late 19th century, and successfully given new legs to what antagonists had dismissed as a played-out, www.lmp.org

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FINAL OF THE CONCERTO CLASSES FOR ADVANCED STUDENTS Simon Funnell

Judges: Tom Hammond

Hilary Davan Wetton

PRESENTATION OF “OVERALL” CUPS AND TROPHIES in the presence of the

Mayor of Croydon, Councillor Graham Bass and his Consort Mrs Bass WHITGIFT SCHOOL CONCERT HALL SUNDAY MAY 13th 2012 AT 6.30 P.M. Affiliated to the British and International Federation of Festivals for Music, Dance and Speech of which Her Majesty the Queen is Patron

www.croydonmusicfestival.co.uk Registered Charity no. 1039606

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Surrey Hills Music Festival 3 / 4 / 5 May 2012 Logo, Green / Blue gradient

A Night of Song and Romance Thursday

3 May

8.00pm @ Denbies Vineyard London Road, Dorking RH5 6AA Tenor Andrew Staples, soprano Anna Patalong, piano Tessa Marchington, perform songs and arias to include Mozart, Strauss and Gershwin.

Tickets £20/£10 (under 21)

An Evening with Natalie Clein Friday

4 May

7.30pm @ Holy Trinity Church High Street, Guildford GU1 3JH Natalie Clein - outstanding cellist and former winner of BBC Young Musician of the Year – performs Bach, György Kurtág and Kodaly followed by a conversation with the audience.

Tickets £20/£10 (under 21)

Saturday

5 May

Festival Gala Concert with Nicola Benedetti and The Sitkovetsky Trio 7.30pm @ St Teresa’s School Beech Avenue, Effingham RH5 6ST Nicola Benedetti performs Vaughan Williams’ Lark Ascending and The Sitkovetsky Trio perform Beethoven’s Triple Concerto with The Surrey Mozart Players, conducted by Kenneth Woods.

Tickets £25/£15 (under 21)

Tickets from Guildford Tourist Information Centre 01483 444334 / 155 High Street, Guildford GU1 3AJ www.lmp.org

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Or book online at www.surreyhillsmusicfestival.com 18/04/2012 14:20:23


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WOULD YOU LIKE TO SUPPORT YOUR LOCAL ORCHESTRA? WHY NOT JOIN US AS A FRIEND? Joining the LMP Friends is an ideal way to

become part of a very friendly group of people who share your love of music.

In return, there are wide-ranging benefits and opportunities to meet the musicians.

Your benefits: • Substantial ticket discounts for Fairfield Halls concerts and advance booking. • Access to private Friends’ bar before the concert and during the interval with discounted drinks at Fairfield Halls concerts. • Access to LMP rehearsals. • Friends events including coffee meetings with talks on music, outings to non-London LMP concerts and an exclusive annual concert and lunch at Woldingham School. • Newsletters keeping you involved with all the LMP’s activities. • Discounts on LMP CDs and free programmes for Fairfield Halls concerts.

Membership costs £40 per year, or £60 for couples. For more information or to join, please visit the LMP desk in the foyer, call the LMP office on 020 8686 1996, email info@lmp.org or visit www.lmp.org

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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.

Supporters Our Supporters are the building blocks of our success. Make a donation today and help the orchestra you love thrive into the future. You’ll receive our newsletter to keep you up to date with all the LMP’s activities and be credited for your support in our concert programmes. Every donation, large or small, is important to us and will make a difference. Bronze Supporters make donations of up to £50, Silver Supporters make donations of £50 and above, and Gold Supporters make donations of £100 and above.

Benefactors 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.

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 Sue McCrossan, Development Manager, London Mozart Players T: 020 8686 1996 or email sue@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 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 Foyle Foundation The Matthew Hodder Charitable Trust The Austin & Hope Pilkington Trust The Prince’s Foundation for Children & the Arts The Sackler Trust N. Smith Charitable Settlement The Steel Charitable Trust corporate friends Cantate Elite Hotels Simmons & Simmons conductors’ circle Anonymous x 9 Daniel & Alison Benton Kate Bingham The Ross Goobey Charitable Trust Jeffrey & Rosamund West

benefactors Anonymous x 7 Graham Harman André & Rosalie Hoffmann Gillian Perkins Mr & the late Mrs K Smith Peter & Sheelagh Smith Mr D & Mrs M Wechsler life friends Michael & Barbara Hill golden supporters Anonymous x 45 Morag Beier Mr & Mrs C Clementi Mrs Patricia Coe 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 Mr John Mead Derek & Bunty Millard Miss Gillian Noble Hazel & Geoffrey Otton Ros & John Rawling Robert Keith Robertson David Robinson Christine Robson Jean-Anne & John Tillotson Sir John Wickerson Michael Woodhouse CVO

silver supporters Anonymous x 32 Irene & Leslie Aarons 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 Mr & Mrs M Rivers Mr Brian J Stocker Mrs Marion Sunley George Sutherland John Williams Mr B E & Mrs P B Woolnough bronze supporters Anonymous x 44 Alec Botten Mrs Sandra & Mr David Cotton Chantal Keast Mrs JMP Marlow Mr and Mrs C McCarthy Mr Denis Protheroe

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LMP INTERACTIVE The mission of the LMP is to share the discovery, excitement and pleasure of live orchestral music with the greatest number of people. LMP Interactive encompasses all the work the orchestra does offstage, bringing live music to people of all ages, needs and backgrounds. The aim of LMP Interactive is to take a holistic approach to our work on and off the concert platform. By working in partnership with venues and other arts professionals, we intend to include an LMP Interactive event – be it a composition workshop or a community concert in a nearby care home – wherever the LMP performs.

CURRENT PROJECTS AND RECENT HIGHLIGHTS Side By Side in Shepshed

Led by composer/animateur Fraser Trainer, this project worked with seven primary schools (around 90 children) in Shepshed, Leicestershire, to help them build a new youth orchestra for the area. For one week, Fraser and LMP musicians worked with the children, split into three groups, to write their own piece of music. At the end of the week, at an LMP Family Music Concert, all the young people played their pieces as part of the concert, and then joined in with the whole LMP for Fraser’s arrangement of In the Hall of the Mountain King for a grand finale. It was a huge success, and proved a great way of getting everyone to play together and to inspire the young musicians with what it feels like to be part of a big orchestra.

Music Nation LMPʼs contribution to the recent BBC Music Nation weekend for the Cultural Olympiadʼs London 2012 Festival gave a unique opportunity to local school children to participate in some inspiring music-making. The culmination of a four-day residency in two Croydon primary schools featured a concert by 120 young people at the start of March 2012. Four World Seasons, a brand new work by LMP Associate Composer Roxanna Panufnik inspired by Vivaldi and Piazzolla's Four Seasons offered the perfect platform from which to explore and showcase the cultural diversity of South London and make connections to the rest of the world. The children created their own musical responses to the seasons in workshops led by North Indian musician Kartik, Roxanna Panufnik and LMP musicians during the weeks before the première of Four World Seasons. The children performed the music they created in these workshops, a piece they called World in our City, in the performance space at Fairfield Hallsʼ foyer. This project builds on existing partnerships and will establish new relationships as we share high quality music-making with the local community.

START Project

Following the huge success of the LMP’s START project in early 2011, a second year of the project is planned to take place in 2012. Working with five primary schools and a special school in Croydon, it began with the children attending a schools’ concert by the LMP at Fairfield Halls in March, followed by workshops with LMP musicians, led by Adam MacKenzie, to create their own compositions. These are performed by the children and LMP musicians in the foyer of Croydon's Fairfield Halls before the LMP concert on 26 April, showing what they have learnt and inspiring them to learn and create more music. www.lmp.org

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LMP MANAGEMENT Patron HRH The Earl of Wessex KG GCVO Music Director GĂŠrard 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 Sue McCrossan

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

Council of Management

Concerts & Projects Manager Caroline Molloy

Registered in England No. 18720034

Chairman Rowan Freeland

Marketing & PR consultant ChloĂŤ Brookes

Registered Charity No. 290833

Chair of the Audit Committee Rosamund Sykes

financial consultant Christopher Wright

Daniel Benton Dan Davies Simon Funnell Gillian Perkins Peter Van de Geest David Wechsler Malcolm Wicks MP

Orchestral Librarian Martin Sargeson

Associate Composer Roxanna Panufnik

Intern Emily Mould

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FF 26 april 12.indd 15

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FORTHCOMING CONCERTS

Saturday 19 May Fairfield Halls, Croydon

7.30pm

EBERL HARTMANN SCHUBERT BEETHOVEN

Symphony in C Concerto Funebre Rondo in A for violin and strings Symphony No.7

Conductor Violin

Gérard Korsten Benjamin Schmid

Tuesday 12 June 7.30pm St John's, Smith Square, London MOZART WESLEY HANDEL PARRY MOZART

Mass in C major, K 317 Coronation Thou wilt keep him in perfect peace Zadok the Priest I Was Glad Sonata for organ and orchestra No. 14 in C

Conductor Hilary Davan Wetton Organ Mark Williams City of London Choir 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.

FF 26 april 12.indd 16

18/04/2012 14:20:44


LMP 26/4/2012