Georg Friedrich Haas: in vain

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Haas: in vain Friday 6 December 8pm Queen Elizabeth Hall, Southbank Centre, London

Georg Friedrich Haas in vain (London premiere)

70’

Emilio Pomàrico conductor London Sinfonietta

The UK premiere of in vain was given by the London Sinfonietta at Huddersfield Contemporary Music Festival on Saturday 16 November 2013 This concert will be broadcast on BBC Radio 3 Hear and Now on Saturday 18 January 2014

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 Austrian Cultural Forum for their support of this concert.


Welcome Georg Friedrich Haas’ in vain has quickly established itself with conductors, musicians and audiences as an extraordinary work. We are proud to be giving the UK premiere performances of the work – here in London, after Huddersfield three weeks ago. The use of pitch black for part of its performance is an intriguing hook that attracts audiences, but once experienced, is no gimmick. Let us know your thoughts of the music and the experience at the end of the work (twitter: @Ldn_Sinfonietta #invain). We are hugely grateful to conductor Emilio Pomàrico, who has stepped in at short notice to replace an indisposed André de Ridder. Everyone who has now worked with him has been impressed by his skilful musicianship that has led us through this project. This is his London debut. One of the most important roles of the London Sinfonietta is to commission and give premiere performances of new music. As well as this project, please join us on Sunday for The New Music Show – when we perform 11 world premieres during our festival-in-a-day, giving a rare opportunity to many composers to have their work heard on a London platform. Andrew Burke @ab2102 Chief Executive, London Sinfonietta

Inspired by Alex Ross’ 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’ 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.


Georg Friedrich Haas (b. 1953)

darkness. He has been pigeonholed by some as both a microtonal composer and a spectralist, but neither term conveys the breadth of his writing: for Haas, music and sound are almost interchangeable terms.

Image © gmcastegberg.ch

Journeying into new and unfamiliar territory is one of the central foundations of all contemporary composition, but few composers have made the world of the unfamiliar as intriguing and compelling as Georg Friedrich Haas. Unlike the alien, fragmented landscapes of his predecessors, whose music György Ligeti once described as ‘event – pause – event’, Haas’ music is grounded in a deeply Romantic tradition of swirling sentiments and long, languorous lines. While his works are often unnerving, unfamiliar and even at times frightening, they are firmly lyrical in their impulse. Haas borrows – both openly and covertly – as readily from the music of Schumann, Mendelssohn and Mozart as he does from the microtonal structures of his 21st century contemporaries, mixing these impulses with extra-musical components such as light and

Growing up beneath the towering Alpine landscape that surrounds Vorarlberg, a province on the Austrian-Swiss border, might have been an inspirational way to live for other people, but for Haas it was a deeply oppressive experience: ‘However impressive the landscape might have been… life there in the 1950s and 1960s was largely cut off from the cultural developments in the world outside.’ This sensation of being an ‘outsider’ left Haas with a sense of disquiet and foreboding that soon found its way into his music, echoing the dark, narrow valley of his childhood. in vain (2000) is just one of several works in Haas’ output that is dominated by the contrast between darkness and light, between calm and unrest. His Concerto for Light and Orchestra, Hyperion (2000) makes use of light as though it were another instrument, in this case one which determines the performance of specific elements, according to the intensification of the light. Later, Haas began to experiment with light and its absence. His String Quartet No. 3 (2003) and, more recently, Nocturno (2013) for female choir, are both performed entirely in the pitch black – Haas even asks for the emergency exit signs to be covered, giving the audience the sense that they are somehow entombed with the performers. The unfamiliar sensation that this creates is integral to Haas’ artistic aesthetic, which is to evoke emotions in the listener that are real and complex, whether they are pleasant or not. © Jo Kirkbride


in vain (2000)

Georg Friedrich Haas’ in vain is a really astonishing work of art. How to describe it? First of all, for everybody involved in new music, it is one of the only already acknowledged masterpieces of the 21st century. And he said himself to me that he could never imagine that a piece lasting just about an hour for a large ensemble of players, using almost no kinds of conventional tuning, and of which 20 minutes is played in complete and utter darkness – he could not imagine that at first it would ever be played, let alone the fact that it has become really a cult wherever it is played. And it seems never just to be played once: the minute people have heard it they are hungry for more. When I first rehearsed with the musicians of the Orchester-Akademie, I tried to find ways to describe the piece. And what was fascinating was that actually there was very little music that you could compare it with. Some of it sounds like Ligeti, the kind of scurrying figurations that you hear in the Violin Concerto as though there are a hundred of Alice’s rabbits in Wonderland, disappearing down the holes. Some of it sounds maybe like a little bit of Ligeti’s Atmosphères, with this extraordinary intergalactic stillness. But most of it sounds like simply nothing else at all. If you imagined a kind of Rothko painting in music, you might get close, because the piece, like these paintings, seems to throb and glow. One of the things about the paintings is, the longer you look, the more dynamic they seem to be. This is very, very true of this piece also. There is another wonderful metaphor which he uses, which is that he was very, very inspired by the idea of M C Escher and the staircase, which seemed always to be going upwards and you found yourself simply back at the beginning once more. The way the sound works is almost like an

optical illusion. And it is the opposite of the idea of Sisyphus, who simply was condemned to push the same stone up the top of the hill and have it fall down with him again. In this piece you climb up the stairs, and you seem to go higher and higher and higher, but actually you find yourself back where you start again. And this somewhere has to be the meaning of in vain. The piece was composed as a response to the rise of the far-right in Austria at the end of the 20th century, and has partly to do with Haas’ despair at this situation. But in fact it is not a tragic or a political piece, it is more as though you are wandering into some kind of extraordinary forest, some kind of primeval darkness, where you discover where music came from. So just to describe it, it starts with a flurry of sounds, almost like some kind of aural snowstorm. And through these sounds you begin to ... [sighs] ... if you can hear lights, you hear lights! You have to use mixed metaphors in this piece. But then gradually, as the snowstorm dies down and the long notes become heard, the lights in the audience become lower and lower and lower, and suddenly you are plunged astonishingly into complete darkness. And this is where the music sounds as though it comes out of some kind of primeval swamp, as though it is struggling to be born. You hear the opposition of the pure notes with notes of a slightly lower pitch or higher pitch, as though they are fighting against each other, or as though you are sticking a knife under your skin – I’m sorry for all these metaphors. And at a certain point it is as though the music is struggling to be – it’s a very long, slow, patient birth.


The strings come to a pause on a chord, and suddenly the harp is heard playing, and the immediate feeling is a jolt of: ‘The harp is terribly out of tune!’ But in fact the harp is playing versions of the natural harmonics that you get on any instrument. With our modern system of tuning, we have had to make many compromises with actually what is a natural chord. And what Haas has done is to go back to the original tuning that you would get if you blow through a horn without adjusting anything with your lips. And it is a very, very particular sound, it has almost a primeval feeling. Now this piece is all about oppositions of all types: about light and darkness. But it is also about the pure, original tones almost fighting with our modern sounds. And a great deal of the opening of the piece is simply exploring what these chords do, they are like extraordinary halos of sound. And then it feels to me as though you are hearing the music that could have been in Wagner’s subconscious before he started writing the Rheingold, with its extraordinary E flat major, the beginning, which is just one chord. But this is the chords from much longer ago, it is the chords of the natural scale. And the trombones and horns play this, and it sounds as though they are calling us to some kind of ceremony. At the climax of the work there are ten of the most astonishing minutes of music anybody has ever written, and it can only remind me of the level of music that Ligeti was writing, our most recent great composer. And at this point, when the lights go down a second time, what you realise is that you are hearing somehow a real, new harmony being born. The players play in complete darkness, they

have little modules that they have to memorise, but to memorise ten minutes of music is a really extraordinary achievement, this is what we have been working on – even today, as I speak. And we have been working on it also in total darkness, so it is a shock suddenly to be sitting in front of these lights. What you hear is based often on C major and the C major chord – but the real, natural C major chord. And it throbs and glows in this total darkness, as though you are seeing some kind of psychedelic vision. And there is a feeling, if you are an audience member, that something really new is happening, and a kind of natural harmony is being found, not only in the music but in the world. I am sure this is what Haas had in mind. And you feel as though you are on the verge of some extraordinary illumination, some understanding that was not there before. But then, very slowly, the lights come on, and as the lights come on the music gets once more stuck on this extraordinary Escher staircase, and you simply don’t know where you are. And it is as though the rhythms of the machine have become jerky, it is moved away from its natural primeval state, and this vision has been lost again. And in fact the piece winds up faster and faster and faster at the end, in the way it had wound down earlier. And then, like the end of Berg’s Wozzeck or the end of Schoenberg’s Erwartung, it winds and it suddenly stops in mid-air. And it has been in vain. This introduction was given by Sir Simon Rattle before the performance of in vain at the Philharmonie, Berlin on 18 January 2013, where he conducted the Orchester-Akademie of the Berlin Philharmonic.


Tonight’s performers Image © Astrid Ackermann

Emilio Pomàrico conductor

London Sinfonietta An Italian conductor and composer born in Buenos Aires, Emilio Pomàrico studied with Franco Ferrara in Siena, Italy, and Sergiu Celibidache in Munich.

Since the start of his international career, Pomàrico has been regularly invited to conduct by the most prominent European orchestras and theatres including the Sinfonieorchester des Bayerischen Rundfunk in Munich, the WDR Sinfonieorchester Koeln and Teatro alla Scala in Milan. He is guest conductor at major International Music Festivals such as Salzburger Festspiele, Edinburgh International Festival and ZaterdagMatinee Amsterdam, where he also conducts leading European contemporary music ensembles including Ensemble Intercontemporain, Klangforum Wien, Musikfabrik, and Remix Ensemble.

Michael Cox flute * Supported by Michael and Patricia McLaren-Turner

Rebecca Larsen flute Melinda Maxwell oboe Timothy Lines clarinet Andrew Webster clarinet Simon Haram saxophone * John Orford bassoon * Michael Thompson horn * Supported by Belinda Matthews

Elise Campbell horn Robert Holliday trombone Matthew Knight trombone Alexandra Wood violin Miranda Fulleylove violin Elizabeth Wexler violin Steve Burnard viola Richard Waters viola Richard Lester cello Zoe Martlew cello Enno Senft double bass *

Recent world premiere performances include Georg Friedrich Haas’ opera Melancholia at Opera Garnier, Paris and Haas’ Ich suchte, aber ich fand ihn nicht in Munich. In addition, in the autumn Pomàrico premiered Georges Aperghis’ Quatre Etudes Pour Orchestre at Musica Festival in Strasbourg to great acclaim. Pomàrico’s recording of Morton Feldman’s Violin Concerto with Carolin Widmann and the Frankfurt Radio Symphony Orchestra was awarded the Charles Cros Academy ‘Coup de coeur’ in 2013.

Supported by Anthony Mackintosh

His next engagements will see him conducting, among others, the WDR Sinfonieorchester Köln, the Deutches Radio Philharmonie Saarbrücken and the Staatsorchester Stuttgart.

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 londonsinfonietta.org.uk/pioneers

Manon Morris harp John Constable piano * Ian Watson accordion David Hockings percussion * Toby Kearney percussion * London Sinfonietta Principal Player


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. 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.


Reviews Sunday 6 October Stockhausen: Gruppen Royal Festival Hall

Saturday 16 November Georg Friedrich Haas: in vain Huddersfield Town Hall

“The London Sinfonietta and the Royal Academy of Music’s Manson Ensemble… pulled off a remarkable feat of ensemble, precision and sheer virtuoso performing skills.” Hilary Finch, The Times ****

“The Sinfonietta, under the great Emilio Pomàrico... played with an intensity and conviction scarcely less astonishing than the music itself.” Guy Dammann, The Guardian *****

“Gruppen: so good they played it twice, once to open the concert, once to close it. Second time around, different events caught the ear... Not a note is wasted, every moment matters; the effect was both sensuous and melancholic.” Nick Kimberley, The Evening Standard ****

“Although first heard in 2000, this performance in Huddersfield Town Hall from the London Sinfonietta was the piece’s UK premiere, and the excitement in the packed audience was palpable... The London Sinfonietta and conductor Emilio Pomàrico were often flying blind, yet their performance was grippingly urgent, and glowingly beautiful.” Ivan Hewett, The Telegraph ***

“The London Sinfonietta joined forces with the Royal Academy of Music’s Manson Ensemble to create three ensembles; Martyn Brabbins, Baldur Brönnimann and Geoffrey Paterson conducted the three groups, sending the music spinning across the hall and occasionally coalescing into intense climaxes.” Andrew Clements, The Guardian **** Staggeringly good double performance of Stockhausen’s #Gruppen this evening by @Ldn_Sinfonietta. My mind has been blown! @mattkaner #Gruppen three orchestras three conductors wish I had three ears #therestisnoise @adamjeanes True surround sound… Immersive #Gruppen, amazing @Ldn_Sinfonietta @RoyalAcadMusic Could happily have heard it a 3rd time @CultureGirl11

@Ldn_Sinfonietta performance of in vain absolutely extraordinary. Both the piece and the commitment from the ensemble. @Richard_Uttley #invain. Just wow. If you’re in London on 6 Dec just go. @Ldn_Sinfonietta @hannahbujic Amazing performance of in vain by @Ldn_Sinfonietta, beautifully staged too @lararatnaraja in vain was insane. Well done @Ldn_Sinfonietta and @HCMFUK for a thoroughly enjoyable and immersive evening. @alxcwrght

Tweet us @Ldn_Sinfonietta #invain with your thoughts on tonight’s concert


New music Commissions

Writing the Future

Commissioning new work lies at the heart of the London Sinfonietta, and this season’s 20 new pieces of music are a testament to this ambition.

Nine emerging composers have been commissioned by the London Sinfonietta this season to write new music as part of Writing the Future. The composers work directly with London Sinfonietta players, resulting in a world premiere performance at The New Music Show on Sunday 8 December at Southbank Centre’s Queen Elizabeth Hall and Purcell Room.

This Sunday, we give the world premiere performances of two London Sinfonietta commissions: Francisco Coll’s Ad Marginem written for Principal Viola Paul Silverthorne, and Edmund Finnis’ Seeing is Flux at our festival-in-a-day, The New Music Show. Later on in the season, in April, we perform the world premiere of Dutch composer Michel van der Aa’s Clarinet Concerto, a London Sinfonietta commission written for Principal Clarinet Mark van de Wiel. These works have been generously supported by the London Sinfonietta Pioneers. To find out how you can help make new music happen, contact the Development Team on 020 7239 9340 or email pioneers@londonsinfonietta.org.uk

Blue Touch Paper Blue Touch Paper nurtures new interdisciplinary projects by providing composers and artists with funding and time to make cross-art-form work with London Sinfonietta musicians. This season, we evolve the scheme further to include the New Work Night, a preview event of three interdisciplinary works-in-progress on Wednesday 21 May at Village Underground, and Music Danced, a close collaboration between choreographers and composers culminating in a world premiere performance on Tuesday 13 May at Southbank Centre. Find out more londonsinfonietta.org.uk/blue-touch-paper

The five solo works commissioned on Writing the Future will be performed as part of Hidden at The New Music Show - a string of solo performances in Southbank Centre’s most secret backstage spaces, each transformed into an art installation by students from Central Saint Martins College of Arts and Design. Find out more londonsinfonietta.org.uk/writing-future Support these new works via your mobile. TEXT/SMS: Send LSF001 followed by your donation amount (£3, £5 or £10) to 70970 e.g LSF001 £5 or scan here:


Emerging Artists Earlier this season, the London Sinfonietta launched its Emerging Artists Programme, an opportunity for the next generation of exceptional musicians to gain professional paid experience in the preparation and performance of new music. Emerging Artists will play alongside and be mentored by London Sinfonietta Principal Players, learning from their unique experiences of working with some of the greatest composers of the past 50 years and their considerable knowledge of the rehearsal and performance of seminal repertoire. Initially open to instrumentalists, we anticipate extending the opportunity to conductors, vocalists and other artists in the future. The Emerging Artists Programme represents an important next step for those talented young musicians taking part in the London Sinfonietta Academy as they embark upon their careers as professional musicians. Emerging Artists so far announced for the 2013/14 season: Joshua Batty flute Scott Lygate clarinet Nicolas Fleury horn Christian Barraclough trumpet

You can help support this new programme as a Creative or Lead Pioneer. Get in touch by calling the Development Team on 020 7239 9340 or email pioneers@londonsinfonietta.org.uk


Concerts for schools “One of the most valuable trips I have attended with our students, reinforcing the teaching in school in a positive and engaging way. The students were buzzing about it on the train home and even treated the commuters to a rendition of ‘Clapping Music’!” Claire Marris, Thamesmead School (Schools Concert 2013)

Primary schools concert: Right Here Right Now

Secondary schools concert: Musical Snapshots

Wednesday 29 January 2014 Queen Elizabeth Hall, Southbank Centre

Wednesday 12 March 2014 Queen Elizabeth Hall, Southbank Centre

Designed for Key Stage 2 students and presented by renowned composer and educationalist Fraser Trainer, the concert will look to inspire both pupils and teachers with the music of today. Explore the idea of sound and place; how the world we live in has influenced composers, how music can transport the imagination and how sound fills the space around us.

The London Sinfonietta presents a new matinee concert designed for Key Stages 3 & 4, showcasing different methods of composing as illustrated through contemporary repertoire.

The concert will feature music from the 1960s onward, including music by living composers, all animated through vibrant live performance by London Sinfonietta musicians. There will also be an opportunity for mass audience participation, led by members of the ensemble.

The programme will include minimalist techniques featured within Edexcel GCSE Electric Counterpoint by Steve Reich, as well as repertoire by seminal composers Stravinsky and Messiaen. It will also feature experimental work Black Box Music by guest composer Simon Steen-Andersen, an example of cutting edge sound art that uses live video projection of the conductor’s gestures to direct performers around the concert hall. The concert will showcase a new commission performed by the KX Collective, a group of young people from the King’s Cross area who have a passion for exploring and creating new music. Visit londonsinfonietta.org.uk/events for more information.


On record Sinfonietta Shorts

CD releases

Sinfonietta Shorts are pieces by today’s leading composers, commissioned, recorded and released by the London Sinfonietta.

The London Sinfonietta’s recordings continue to offer world-class performances of new music on disc and digital download, delivered in partnership with different labels. Recent and upcoming releases are:

The series started in 2008 to celebrate the ensemble’s 40th birthday, and the works created for it have enduring relevance as bite-sized introductions to the best new music of our time. The first five Sinfonietta Shorts were premiered in 2008, and five years on, the series is back with five more. They will be released as downloads on NMC Recordings from Monday 2 December, one a day for five days. At the end of the week, the London Sinfonietta’s Principal Players perform the pieces live as part of The New Music Show on Sunday 8 December at Southbank Centre. The works are: Harrison Birtwistle Duet 3 supported by Nick & Claire Prettejohn Mark Bowden Parable Dai Fujikura es supported by Robert Clark and Susan Costello Jonathan Harvey Little Duo supported by Sir John and Lady Tusa Anna Meredith Axeman Download now from NMC Recordings nmcrec.co.uk/sinfonietta-shorts

Philip Cashian Piano Concerto (contributor) NMC Recordings (out now) Pelle Gudmundsen-Holmgreen Portrait with Theatre of Voices DaCapo (March 2014) Dai Fujikura Double Bass Concerto Signum Records (spring 2014) Nicolo Castiglioni Previously unissued recordings Signum (spring 2014) George Benjamin Into the Little Hill Nimbus (spring 2014) Larry Goves Debut Disc NMC Recordings (spring-summer 2014) Ben Foskett Debut Disc (contributor) NMC Recordings (summer 2014)


The New Music Show

Right Here Right Now

Festival-in-a-day

Primary schools concert

Sunday 8 December 2013 from 11.15am Queen Elizabeth Hall and Purcell Room, Southbank Centre

Wednesday 29 January 2014 11.30am and 1.30pm Queen Elizabeth Hall, Southbank Centre

GudmundsenHolmgreen: Flow My Tears

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


Support us

We make new music. You make new music happen. London Sinfonietta Pioneers

Help support new works by emerging composers on Writing the Future from as little as £3 via your mobile! This season’s commissions will be given their world premieres this Sunday at The New Music Show. Five of the new works will be performed as part of 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 for Hidden from: Gregory Emfietzis, Adam Fergler, Aaron Holloway-Nahum, Amber Priestley, Andrew Thomas TEXT/SMS: Send LSF001 followed by your donation amount (£3, £5 or £10) to 70970 e.g LSF001 £5 Or scan here to make a donation:

For terms and conditions visit nationalfundingscheme.org

Pioneers are vital to the success of the London Sinfonietta and enjoy a close relationship with the ensemble. Become a Lead Pioneer and support our world-class Principal Players and Emerging Artists or put yourself at the forefront of new music as a Creative Pioneer and help fund works by composers such as: Sir Harrison Birtwistle, Michel van der Aa, Edmund Finnis, Francisco Coll, Mica Levi

PIONEER £35+ per year

CREATIVE PIONEER £200+ per year or £16.67+ per month

LEAD PIONEER £1,000+ per year or £83.33+ per month For more information, contact Claire Barton, Development Manager on claire.barton@londonsinfonietta.org.uk or visit londonsinfonietta.org.uk/pioneers


Arts based business training Lessons from music for leaders in business The London Sinfonietta’s business training programme uses the process of music rehearsal, performance and conducting to help develop team working skills and provide an insight into new ways of managing. Business participants are actively involved in the workshop. “Remarkable experience in discovering the secrets of successful team dynamics.”

The programme is delivered by a professionally trained facilitator and a string quartet from the London Sinfonietta. It is developed in partnership with the London Business School. For enquiries please contact Andrew Burke, Chief Executive on 020 7239 9340 or andrew.burke@londonsinfonietta.org.uk

“Amazing. Excellent parallel between our business world and another universe driven by the same principles.” Workshop participants, Roche Pharmaceuticals

Conducting exercise as part of the business workshop


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 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.