Stockhausen: Gruppen

Stockhausen: Gruppen Sunday 6 October 6pm Royal Festival Hall, Southbank Centre, London Karlheinz Stockhausen Gruppen Luigi Nono Canti per 13 Interval Luigi Nono Polifonica - Monodia - Ritmica Karlheinz Stockhausen Gruppen Martyn Brabbins conductor Baldur BrĂśnnimann conductor Geoffrey Paterson conductor Royal Academy of Music Manson Ensemble London Sinfonietta

This concert will be broadcast on BBC Radio 3 Hear and Now on Saturday 19 October

The London Sinfonietta is grateful to Arts Council England and the PRS for Music Foundation for their generous support of the ensemble’s Music Programme 2013/14, to the John Ellerman Foundation for their support of the ensemble and to The Goethe Institut for their support of this concert.

Welcome Welcome to the first concert in our 2013/14 Southbank Centre season. We are proud to present the music of Luigi Nono and Karlheinz Stockhausen in this chapter of Southbank Centre’s The Rest Is Noise festival.Taking on Gruppen is no small undertaking for any orchestra let alone an ensemble of our size - and we could only have considered it in partnership with the musicians of the Royal Academy of Music, with whom we have performed other huge new music projects in the past. I’m also grateful to our three conductors who are taking on this extraordinary challenge together.

Emerging Artists Programme Earlier this evening, the London Sinfonietta launched its new Emerging Artists Programme.

We will recruit brilliant young players and involve them in the performing work of the ensemble across each season, supported by the world-class, unrivalled experience of the ensemble’s Principal Players.This programme will extend to our existing summer London Sinfonietta Academy project, and also these side-by-side projects we mount with colleges such as the Royal Academy of Music.

Andrew Burke @ab2102 Chief Executive, London Sinfonietta

Inspired by Alex Ross’s book The Rest Is Noise

The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating

stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th-century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise has been focusing on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this.

Jude Kelly Artistic Director, Southbank Centre

We hope you enjoy your visit to Southbank Centre. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffe Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to make a comment following your visit please contact Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250 or email customer@southbankcentre.co.uk. We look forward to seeing you again soon.

Stockhausen (1928-2007)

hangover from the jazz music he had listened to during the post-war years. The wildness of his cantata Momente (1962-4) and the cacophony of sound that is Gruppen (1955-7) owe much to these other sources.

Image © Bernard Perrine

Not since Beethoven has one composer obtained such a mythical status as Karlheinz Stockhausen.

A controversial individual whose candidness and eccentricities have provoked as much revulsion as they have intrigue, Stockhausen can nevertheless lay claim to the creation of more new musical movements than any other composer of the 20th-century.

While Stockhausen claimed to have been educated on Sirius, the brightest star in our sky, he was actually brought up in a village near Cologne and later studied with Milhaud and Messiaen at the Paris Conservatoire. His studies with Messiaen sparked an interest in exploring serial procedures, which led to his earliest works in this vein, the ‘punktuelle’ (‘pointist’ or ‘punctual’) piece Kreuzspiel (1951) and his first set of Klavierstücke (1952). But Stockhausen’s interest in rigorous formalism was tempered by a sense of raw vitality and infectious energy – a

With Gesang der Jünglinge (1955-6) he became the first composer to integrate seamlessly electronic and natural sound sources, while iconic works such as the Helikopter-Streichquartett (1992-3) pushed the boundaries of musical performance to hitherto undreamed-of limits.

In itself, this was just one component of Stockhausen’s giant opera project, Licht (19772003), which comprises seven full-length operas, one for every day of the week, totalling some 29 hours of music. He also began, but left unfinished, a cycle based on the hours of the day, entitled Klang (2004-7). While his later works took on a mystical quality that saw him fall out of favour in some circles, the unparalleled levels of bold experimentation across his catalogue of 300 works in every imaginable genre have left an indelible imprint on the history of western music that few composers of the future will be able to replicate. © Jo Kirkbride

Gruppen (1955-7)

Serialism is a thorny issue, and one which has a reputation for producing academically-interesting, listener-unfriendly works, that are the preserve of a niche of concert-goers. But serialism comes in many forms. For Stockhausen, it is simply a way of thinking: ‘Serialism is the only way of balancing different forces. In general it means simply that you have any number of degrees between two extremes that are defined at the beginning of a work, and you establish a scale to mediate between these two extremes. Serialism is just a way of thinking.’

Stockhausen’s interest in serialist techniques was first piqued when he spent a year studying with Messiaen in 1952. Messiaen had just published Mode de valeurs et d’intensités (1950), in which every element – that is, pitch, dynamics, duration and timbre – is organised according to a predetermined numerical series. The idea struck a chord with Stockhausen and inspired his early serial work Kreuzspiel (1951), which applies similar processes to all parameters in the score.

In 1955, while Stockhausen was still working on his seminal electronic work Gesang der Jünglinge, he received a commission from the West German Broadcasting Corporation (WDR) for a new orchestral composition. By the time he was able to begin work on the new commission, a new idea had formed in his mind: why not add space to the list of ordered parameters?

Stockhausen began work on Gruppen during a stay in the Swiss Alps during the summer of 1955. Looking out the window at the imposing Graubünder mountains, the idea of incorporating ‘space’ into the music began to take on a new meaning, as Stockhausen later related:

‘Whole envelopes of rhythmic blocks are exact lines of mountains that I saw in Paspels in Switzerland right in front of my little window.

Many of the time spectra, which are represented by superimpositions of different rhythmic layers – of different speeds in each layer – their envelope which describes the increase and decrease of the number of layers, their shape, so to speak, the shape of the time field, are the curves of the mountain’s contour which I saw when I looked out the window.’

Monumental in its conception and just as arresting in performance, Gruppen is scored for three separate orchestras, each with their own conductor, who are arranged in a horseshoe shape that surrounds the audience. In so doing, the listener becomes immersed in the music – instead of being performed at, the listener is now at the very centre of the orchestral fabric. This spatial differentiation also allows Stockhausen to manipulate the delivery of the overall sound.

With the composition of his five-channel electronic work Gesang der Jünglinge still in the back of his mind, Stockhausen hoped to create an orchestral work that would mimic the stereo sound of electronic practice. So a particular chord or rhythm may pan from one ‘channel’ to another, and as one orchestra proceeds at a different tempo from the next, the listener is able to discern, as though listening through multiple speakers, the individual lines and timbres of each component.

As the music ebbs and flows, Stockhausen’s kaleidoscopic colours and shifting textures evoke the rise and fall of the Alpine landscape which inspired them. As a result, the overall impression is not one of strict serialism at all (and there is

little point trying to grasp the procedures without a score), but of a quasi-improvisatory wall of sound, one in which the listener must submerge themselves in order to savour fully the complexity of Stockhausen’s design. © Jo Kirkbride Further reading Stockhausen, Karlheinz 1989a Stockhausen on Music: Lectures and Interviews edited by Robin Maconie Stockhausen, Karlheinz Texts on Music edited by Jerome Kohl Ross, Alex The Rest is Noise Online articles Covell, Grant Chu. 2007 Ferneyhough & Stockhausen: Grubby and Gruppen www.lafolia.com Service, Tom Guardian Guide to Karlheinz Stockhausen www.theguardian.com/music/tomserviceblog

Luigi Nono (1924-1990)

sospeso (1955-6) combines serial techniques with a political message: in this case, it commemorates the plight of the European resistance fighters during the Second World War, and uses their farewell letters to loved ones as the source of its text.

Image © Hans Kumpf

If the composers of the Darmstadt School have a reputation for writing abstract music that prioritises design over expression, then Luigi Nono is its exception. While Nono studied alongside the likes of Stockhausen and Boulez during summers in Darmstadt, and shared their interest in serial composition, his politically-driven works, with their anti-fascist and anti-capitalist agendas, distinguished him from his New Music contemporaries. Few composers have shown so successfully that music is a product of its social context, and that artworks must develop alongside the cultural and political developments of the time if they are to retain their validity and significance.

Having been born into a wealthy and artistic Venetian family, Nono was given the opportunity to explore several creative disciplines before he settled upon composing, and this rounded cultural awareness spills over into his music. Like so many of his works, his cantata Il canto

His ‘non-opera’ Intolleranza 1960 (1960), meanwhile, explores the problems of exploitation in the life of an emigrant and was so controversial amidst some political factions that it caused a riot at its premiere in Venice. But Nono, a late bloomer, produced some of his most brilliant and memorable works in his final years, among them his magnum opus, Prometeo (1984-5), which turns the practice of listening inwards upon itself to explore the depths of our imagination and what it means to be a listener. Intimate, expressive and deeply powerful, Nono’s music is proof that modernist techniques are not just for the cold of heart. © Jo Kirkbride

Canti per 13 (1955)

Polifonica - Monodia - Ritmica (1951)

After the world premiere of Nono’s grand cantata Il canto sospeso, Stockhausen complained that by fracturing the texts, Nono had turned the words into mere ‘sounds and noises’, concealing them from the listener and thereby making them unintelligible. Nono responded with anger: his intention had not been to dilute the texts, but rather to use a process of fragmentation to make the words all the more meaningful. The same process is at work in Canti per 13, whose fractured landscape and pointillist brushstrokes draws attention to the minutiae of the individual moment.

In 1954, Boulez announced of he and his fellow avant-garde composers that, ‘despite an excess of arithmetic, we had achieved a certain “punctuality” of sound’. It was the first appearance in print of a term now most widely attributed to Webern: ‘punktuelle music’. ‘Point music’ or ‘punctualism’, as distinct from ‘pointillism’, refers to a style of composition that rejects thematicism in favour of a work that precede from tone to tone. Unlike the pointillist painters, who create large-scale images from a collection of tiny dots, the ‘punctualists’ created music that deliberately rejects the larger whole, instead focussing on the dots themselves.

As the title implies, Nono considers the work to be a set of ‘songs’ – songs in the most fundamental sense of the term, a pure expression of tone and timbre. Guided by strict serial procedures, in which tone, dynamics, duration and articulation are all governed by a predetermined series, Canti per 13 reorients our perception of lyricism.

In Nono’s world, a single note may constitute a song.

Punctual music found a natural home with the serialists, and above all with Stockhausen and Nono, whose music explores and zooms in upon the individual moment. With Polifonica – Monodia – Ritmica, Nono intended to reduce music to its bare essentials – polyphony, monody, rhythm – and to use the progression from tone to tone to challenge us to revaluate our role as listeners. The surface of the music seems like little more than a succession of tones, dynamics and timbres, but through this Nono evokes a certain weightlessness, and silence itself becomes a more meaningful space. Even within these bare elements, there is music still – a fragmentary world of echoes and shadows, constantly on the brink of dissolving and becoming mute.

© Jo Kirkbride

Martyn Brabbins Conductor

Baldur Brönnimann Conductor

British conductor Martyn Brabbins is Chief Conductor of the Nagoya Philharmonic, Principal Guest Conductor of the Royal Flemish Philharmonic and Music Director to the Huddersfield Choral Society. He was previously Artistic Director of the Cheltenham International Festival of Music 2005- 2007 and Associate Principal Conductor of the BBC Scottish Symphony Orchestra 1994-2005.

After studying composition in London and then conducting with Ilya Musin in Leningrad, his career was launched when he won first prize at the 1988 Leeds Conductors’ Competition. Since then Brabbins has become a frequent guest with leading orchestras across the globe.

Recent guesting highlights have included debuts with the Royal Concertgebouw Orchestra, London Symphony Orchestra and at La Scala Milan, and at the First Night of the BBC Proms with the BBC Symphony Orchestra (shared with Elder, Norrington and Gardner).

This season he debuts at the Bayerische Staatsoper, and in spring 2014 conducts Birtwistle’s Gawain in concert at the Barbican with the BBC Symphony Orchestra.

He has recorded over 100 CDs, ranging from Romantic to contemporary repertoire, winning the Gramophone Award for Birtwistle’s Mask of Orpheus with the BBC Symphony Orchestra (NMC) and the Cannes Opera Award for Korngold’s Die Kathrin with the BBC Concert Orchestra (CPO).

As a guest conductor, Baldur Brönnimann performs at the highest level with orchestras such as the BBC Symphony, Oslo Philharmonic, Helsinki Philharmonic, Royal Scottish National, Copenhagen Philharmonic, Royal Stockholm Philharmonic, Seoul Philharmonic and the Britten Sinfonia who he conducts as part of the Barbican Centre’s Birtwistle celebrations next year. As well as working regularly with the London Sinfonietta, Brönnimann is a regular with Klangforum Wien, who he conducts in a performance of Romitelli’s Index of Metals with Barbara Hannigan at Theater an der Wien this season.

He is also Artistic Director of Norway’s contemporary music ensemble BIT20 where his focus is on building projects with the cultural community in Norway and creating new avenues for the ensemble, through a varied programme of concerts and events.

In the opera house, Brönnimann has conducted three productions at English National Opera, including the highly acclaimed La Fura dels Baus production of Ligeti’s Le Grand Macabre and Tom Morris’s new Death of Klinghoffer by John Adams.

He made his debut with Komische Oper Berlin earlier this year with Le Grand Macabre and in 2014 conducts Saariaho’s L’Amour de Loin at Norwegian Opera.

Born in Switzerland, Brönnimann trained at the City of Basel Music Academy and at the Royal Northern College of Music in Manchester.

Image © Julieta Schildknecht

Image © Sasha Gusov

Tonight’s performers

Geoffrey Paterson Conductor

Royal Academy of Music Manson Ensemble

Geoffrey Paterson read Music at St John’s College, Cambridge, studying composition with Alexander Goehr, and subsequently studied as a conductor with Peter Stark in London, Alasdair Mitchell at the Royal Scottish Academy of Music and Drama, Diego Masson in Dartington and Peter Eötvös and Pierre Boulez in Lucerne, before training at the National Opera Studio as a repetiteur. In 2009 he was awarded First Prize at the Ninth Leeds Conductors Competition, where he also won the audience prize.

He is an alumnus of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, where he worked as assistant and repetiteur for conductors including Sir Antonio Pappano, Daniele Gatti and Andris Nelsons.

Paterson has worked for Glyndebourne Festival Opera, Edinburgh International Festival, The Opera Group and British Youth Opera, and in 2013 he was invited to join the music staff of the Bayreuth Festival for a new production of Der Ring des Nibelungen marking the 200th anniversary of Wagner’s birth.

In 2013 Geoffrey Paterson conducted the world premiere tour of David Bruce’s opera The Firework-Maker’s Daughter, a joint commission from the Royal Opera House, The Opera Group and Opera North.

Future engagements include a tour of HK Gruber’s Gloria von Jaxtberg with The Opera Group, culminating in a début at the Bregenz Festival and a return to Royal Danish Opera to conduct Porgy and Bess.

The Manson Ensemble is the Royal Academy of Music’s specialist new music ensemble.

Its first concert was at the Aldeburgh Festival in 1968, and it plays regularly at the Academy and in festivals around Britain.

The group has a long tradition of working closely with composers. Over the years the Manson Ensemble has worked with Berio, Birtwistle, Carter, Donatoni, Henze, Kagel, Kurtág, Lutoslawski, Maxwell Davies, Messiaen, Nyman, Penderecki and Tippett, amongst many others.

The ensemble also collaborates very regularly with Academy student composers.

The Manson Ensemble regularly works with established professional ensembles. Previous side-by-side collaborations with London Sinfonietta include the UK premieres of Grisey’s Les Espaces Acoustiques and of Nono’s Prometeo Since 1822 the Royal Academy of Music has prepared students for successful careers in music according to the constantly evolving demands of the profession. Academy musicians study instrumental performance, composition, jazz, musical theatre and opera. The Academy’s student community is truly international, with over 50 countries represented.

As the Academy approaches its bicentenary it goes from strength to strength. In the past three years alone, the Academy has been rated the best conservatoire for research by the Times Higher, the top conservatoire and the secondhighest rated institution in the country for student satisfaction in the National Student Survey, and top conservatoire in The Times University Guide.

Tonight’s players Orchestra 1

Orchestra 2

Orchestra 3

Anthony Robb flute/piccolo Charlotte Ashton alto flute # Melinda Maxwell oboe Viviana Salcedo Agudelo cor anglais # Mark van de Wiel clarinet * Sarah Burnett bassoon Francisco Gomez horn Alexander Hamilton horn # Jason Evans trumpet Max Bronstein trumpet # Byron Fulcher trombone * Ashley Harper trombone # Peter Smith tuba Jonathan Morton violin * Julia Pusker violin # Miranda Fulleylove violin Caroline Sharp violin # Elizabeth Wexler violin Claire Sledd violin # Dominika Rosieck violin Flora Curzon violin # Philippa Mo violin Antonia Kesel violin # Steve Burnard viola Joe Bronstein viola # Rebecca Gilliver cello Auriol Evans cello # Zoë Martlew cello Tatiana Chernyshova cello # Enno Senft double bass *

Helen Keen flute/piccolo Helena Gourd flute # Toby Thatcher oboe # Antanas Makstutis Eflat clarinet # Joseph Hyung Sup Lim clarinet # Joshua Wilson bassoon # Simon Haram alto saxophone * Bradley Grant baritone saxophone Nicholas Korth horn Anna Douglass horn # Carys Evans horn # Torbjörn Hultmark trumpet Imogen Hancock trumpet # Emma Bassett trombone # Barry Clements bass trombone Joan Atherton violin * Soila Hakkinen violin # David Worswick violin Sara Cubarsi Fernandez violin # Hilaryjane Parker violin Lingyi Kong violin # Andrew Harvey violin I-Hung Yeh violin # Paul Silverthorne viola *

Supported by Anthony Mackintosh

Alexander Rolton cello # Anthony Allcock double bass Eloise Riddell double bass # John Constable piano

Philippa Davies flute/piccolo Chris O’Neal oboe Chloé Greenwood cor anglais # Timothy Lines clarinet Oliver Janes bass clarinet # Robin O’Neill bassoon Michael Thompson horn Rebecca Weldon horn # Jonathan Farey horn # Paul Archibald trumpet Victoria Rule trumpet # Robert Holliday trombone Quinn Parker trombone # Ross Knight tuba # Alexandra Wood violin Javier Montanana Gonzalez violin # Jamie Campbell violin Enrique Santiago Cabrera violin # Daniel Pioro violin Kirsty Lovie violin # Charlotte Reid violin Rosemary Hinton violin # Fiona Winning viola Marie De Bry viola # Elizabeth Butler viola Anna Lusty viola # Kate Gould cello Antonio Novais cello # Matthew Gibson double bass Hannah Turnbull double bass # Karen Hutt percussion Toby Kearney percussion Oliver Butterworth percussion # James Larter percussion # Mary Reid harp # Joseph Havlat celeste #

Andrei Mihailescu double bass # Helen Tunstall harp * Clive Williamson keyboard glock/celeste Nigel Bates percussion Oliver Lowe percussion Paul Stoneman percussion # Ben Burton percussion #

Supported by Nick and Claire Prettejohn

Ugne Tiskute viola 1# Sophie Renshaw viola Joseph Griffin viola # Tim Gill cello * Supported by Sir Stephen Oliver

Supported by Michael Conroy

Timothy Palmer percussion Serge Vuille percussion Oliver Pooley percussion # Tom Lee percussion # Huw Davies electric guitar

*London Sinfonietta Principal Player # Royal Academy of Music Manson Ensemble

A gift of £1000 will support one of our world-class Principal Players for a season and give you a close connection with the performing ensemble.

Visit londonsinfoneitta.org.uk/pioneers

London Sinfonietta Making new music The London Sinfonietta’s mission is to place the best contemporary classical music at the heart of today’s culture; engaging and challenging the public through inspiring performances of the highest standard, and taking risks to develop new work and talent. The ensemble is Resident Orchestra at Southbank Centre with its headquarters at Kings Place. Since its foundation in 1968, the London Sinfonietta’s commitment to making new music has seen it commission over 300 works, and premiere many hundreds more.

Famed for its pioneering education initiatives, it continues to involve young people and the public in its work.

The core of the London Sinfonietta is 18 Principal Players, representing some of the best solo and ensemble musicians in the world.

The ensemble has just launched its Emerging Artists Programme, which will give professional musicians at the start of promising and brilliant careers the opportunity to work alongside those Principal Players on stage across the season.

The London Sinfonietta’s recordings present a catalogue of the finest new music, including the recent release of Philip Cashian’s Piano Concerto on NMC Recordings.

Events This autumn, our events at Southbank Centre are important closing chapters in their year-long The Rest Is Noise festival, bringing the story of 20th-century music from post-war to the present day. Next spring we forge ahead into music of the 21st, focusing on commissions and premieres from Pelle Gudmundsen-Holmgreen, Simon Steen-Andersen and Michel van der Aa that have grown out of close relationships forged with partners in Denmark and Holland.

New music We have commissioned over 20 pieces of new music for the 2013/14 season. Nine form part of our Writing the Future scheme, which pairs emerging composers with Principal Players to develop new chamber compositions, and will be premiered at The New Music Show in December 2013. A series of others will be released as digital downloads by NMC Recordings in the run-up to the event.

This year we also expand the Blue Touch Paper programme, in order to further experiment with interdisciplinary art. In May 2014 we’ll explore the results in two events: a dance collaboration at Southbank Centre and our annual new work night at Village Underground.

Take part This season there are concerts for schools to inspire pupils and teachers with the music of today, and original public performances by teenagers from Kings Cross as part of the KX Collective.

The London Sinfonietta Academy continues into its sixth year, and at the start of summer 2014 the UK’s most talented young players will have the chance to learn side-by-side with our Principal Players at an intensive week-long course, culminating in a public performance. Following tonight’s launch, the London Sinfonietta Academy will also provide the foremost route into the new Emerging Artists Programme.

Then there are open calls to the public (that’s you!) to take part across the season in person and online, culminating in a mass participation event at Southbank Centre in June 2014.

Take part RSVP

What’s your view?

Inspired by American composer James Tenney’s Postal Pieces, we launched RSVP, an open call to the public for compositions on the back of a postcard. The response was phenomenal with a total of 355 postcards from 170 composers, sent in from 20 countries on 5 continents.

We performed the three winning submissions alongside Tenney’s own works at Kings Place Festival on Sunday 15 September.

Here’s the image we chose to represent Gruppen in our season brochure. What picture would you choose to portray this music?

Take a look at a selection of the submissions on our blog londonsinfonietta.wordpress.com

Playlists We’re creating a Gruppen-inspired playlist and want you to make the final selection. Check out the shortlist at londonsinfonietta.wordpress. com and vote for your favourite tracks!

On the blog, you’ll also find playlists by conductors Martyn Brabbins and Baldur Brönnimann, giving you a glimpse into the musical inspirations of the performers on stage tonight.

Tweet us using #gruppen with a photograph you’ve taken which you think best represents this work and head over to our blog to see the full selection on our mural: londonsinfonietta.wordpress.com

Listening club Get inside the music with our online Listening Club as composer Philip Cashian takes you through Gruppen in his audio-illustrated article. Have a listen and discover more at londonsinfonietta.wordpress.com

@Ldn_Sinfonietta facebook.com/londonsinfonietta londonsinfonietta.org.uk

London Sinfonietta Academy Training the musicians of tomorrow to play the music of today.

Applications are now open for this season’s course in summer 2014.

The London Sinfonietta Academy is an unparalleled opportunity for emerging performers and conductors to train with the world’s leading contemporary music ensemble. This intensive week-long course of rehearsals, masterclasses and networking opportunities culminates in a public performance, and is open to musicians aged 16-26 who are resident or in full-time education in the UK. This season, the London Sinfonietta launches its Emerging Artists Programme, an opportunity for the next generation of exceptional musicians to get involved with the performing work of the ensemble. The foremost route to the Emerging Artists Programme will be through the London Sinfonietta Academy.

Application deadline: 29 November 2013 Auditions: January and February 2014 Summer course: 7-14 July 2014 Find out more: www.londonsinfonietta.org.uk Email: academy@londonsinfonietta.org.uk

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New music by emerging composers

London Sinfonietta Pioneers

Writing the Future showcases today’s best emerging talent as young composers are selected to create new works for small ensemble and solo players. The works are given their world premieres at The New Music Show, London Sinfonietta’s festival-in-a-day, featuring live performances, installations, films, talks and opportunities for audiences to take part.

The new solo works will be performed in Hidden, where those with a curious mind and adventurous streak can discover a string of intimate solo performances in secret spaces around the site, each curated by students from Central Saint Martins College of Arts and Design.

4 small ensemble commissions from: Samantha Fernando; Geoff Hannan; Matthew Kaner; Tristan Rhys Williams 5 solo commissions from: Gregory Emfietzis; Adam Fergler; Aaron Holloway-Nahum; Amber Priestley; Andrew Thomas

Pioneers are vital to the success of the London Sinfonietta and enjoy a close relationship with the ensemble. Support our world-class Principal Players and Emerging Artists or put yourself at the forefront of new music and help fund works by composers such as: Michel van der Aa Sir Harrison Birtwistle Edmund Finnis Francisco Coll Mica Levi Choose from three levels of membership starting at just £35 per year (less than £3 per month).

Contact Claire Barton, Development Manager on claire.barton@londonsinfonietta.org.uk or visit londonsinfonietta.org.uk/pioneers

Trusts and Foundations London Sinfonietta would like to thank the following organisations, which have supported us over the last year: Arts Council England The Aaron Copland Fund for Music The Angus Allnatt Charitable Trust The Boltini Trust The British Council The Britten-Pears Foundation The Derek Butler Trust The City of London Corporation’s City Bridge Trust Columbia Foundation Fund of the London Community Foundation The Ernest Cook Trust The D’Oyly Carte Charitable Trust The John Ellerman Foundation Esmée Fairbairn Foundation Fenton Arts Trust Fidelio Charitable Trust The Goldsmiths’ Company Charity Lord Harewood’s Charitable Settlement The Holst Foundation Jerwood Charitable Foundation The Stanley Thomas Johnson Foundation The Leche Trust The Leverhulme Trust The Marple Charitable Trust Musicians Benevolent Fund PRS for Music Foundation RVW Trust The Harold Hyam Wingate Foundation Youth Music

London Sinfonietta Honorary Patrons John Bird Sir Harrison Birtwistle Alfred Brendel KBE Sir George Christie CH

Lead Pioneers Sir Richard Arnold Trevor Cook Susan Grollet in memory of Mark Grollet Leo and Regina Hepner Penny Jonas Anthony Mackintosh Belinda Matthews Robert & Nicola McFarland Michael & Patricia McLaren-Turner Andrew Mitchell Sir Stephen Oliver QC Nick & Claire Prettejohn Richard Thomas & Caroline Cowie Paul & Sybella Zisman

Creative Pioneers Ian Baker Andrew Burke Robert Clark Jeremy & Yvonne Clarke Rachel Coldicutt Susan Costello Anton Cox Dennis Davis Patrick Hall Nicolas Hodgson Andrew Hunt Frank & Linda Jeffs Alana Lowe-Petraske Stephen Morris Julie Nicholls Simon Osborne Patricia O’Sullivan Ruth Rattenbury

Lord Stevenson of Coddenham Iain Stewart Anne Stoddart Sally Taylor Barry Tennison David & Jenni Wake Walker Fenella Warden Estela Welldon John Wheatley Jane Williams Stephen Williamson Michelle Wright Plus those generous Lead and Creative Pioneers who prefer to remain anonymous.

Thanks also to the London Sinfonietta Pioneers.

London Sinfonietta Council Paul Zisman Chairman Andrew Burke Rachel Coldicutt Ian Dearden David Hockings Penny Jonas Alana Lowe-Petraske Belinda Matthews Philip Meaden Sir Stephen Oliver QC Matthew Pike Paul Silverthorne Sally Taylor Elizabeth Davies Company Secretary

London Sinfonietta Staff Andrew Burke Chief Executive Sarah Tennant Head of Concert Production Natalie Marchant Concerts & Touring Administrator Tina Speed Participation & Learning Manager Shoubhik Bandopadhyay Participation & Learning Assistant Claire Barton Development Manager Amy Forshaw Marketing Manager Claire Lampon Marketing & Development Assistant Elizabeth Davies Head of Administration & Finance James Joslin Administrative Assistant Viktoria Mark Finance Assistant Mark Prentice-Whitney Projects Intern (Surrey University Professional Training Placement) Freelance and Consultant Staff Hal Hutchison Concert Manager Lesley Wynne Orchestra Personnel Manager Tony Simpson Lighting Designer Michelle Wright for Cause4 Fundraising Consultant Julie Nicholls Consultant Accountant sounduk Public Relations Fraser Trainer KX Collective Musical Director Paul Griffiths KX Collective Musical Director The London Sinfonietta is grateful to its accountants Martin Greene Ravden LLP and its auditors MGR Audit Limited for their ongoing support.

Haas: in vain

The New Music Show

Performed in white light and pitch black Friday 6 December 2013 6.45pm Composer Conversation 8pm Main Event Queen Elizabeth Hall, Southbank Centre

GudmundsenHolmgreen: Flow My Tears

Festival-in-a-day Sunday 8 December 2013 from midday Queen Elizabeth Hall and Purcell Room, Southbank Centre

Steen-Andersen: Black Box Music

Pioneering new simplicity Sunday 2 March 2014 4.45pm Composer Conversation 6pm Main Event Purcell Room at Queen Elizabeth Hall, Southbank Centre

New rules Wednesday 12 March 2014 7.30pm Main Event Post-concert Composer Event Queen Elizabeth Hall, Southbank Centre