Tapestries Programme

2021/22 SEASON CONCERT PROGRAMME

TAPESTRIES Thursday 31 March 2022, 7.30pm Queen Elizabeth Hall

TAPESTRIES Thursday 31 March 2022, 7.30pm Southbank Centre’s Queen Elizabeth Hall Alex Paxton Candyfolk Space-Drum (London Sinfonietta commission, world premiere) Interval George Lewis Emergent (2014) George Lewis The Deformation of Mastery (London Sinfonietta/Southbank Centre co-commission, world premiere) Claire Chase flute Alex Paxton trombone Martin France jazz drum kit Senem Pirler live electronics Aga Serugo-Lugo children's choir director Tim Anderson conductor Children's Chorus from The Belham Primary School, Southwark London Sinfonietta This concert is part of SoundState Festival. The concert will be followed by a free post-concert talk in the Queen Elizabeth Hall Foyer, where you can hear behind-the-scenes insights from a selection of artists.

The London Sinfonietta is grateful to Arts Council England for its generous support of the ensemble, as well as the many other individuals, trusts and businesses who enable us to realise our ambitions.

The work of the London Sinfonietta is supported by the John Ellerman Foundation, and the London Sinfonietta's Writing the Future programme is generously supported by Michael and Patricia McLarenTurner, The Boltini Trust, Jerwood Arts, PRS for Music Foundation, The Stanley Thomas Johnson Music Foundation. George Lewis' commission is kindly supported by Nicholas Hodgson.

This performance is supported by The Marchus Trust and the Southbank Centre, with the friendly support of the Ernst von Siemens Music Foundation.

Tonight's concert Tapestries is curated and produced by the London Sinfonietta.

London Sinfonietta stands in solidarity with the people of Ukraine

WELCOME Welcome to tonight's concert.

Alex and George’s music is ambitious, daring and exciting – and we are very excited to be giving two world-premieres of their music tonight. Alex is part of our Writing the Future programme where we ask composers to try new things in their own work and in doing so evolve the work of the London Sinfonietta – and I’m sure he has responded to that brief. We are honoured to work with George Lewis – this is our second commission from him – and his music, ideas and influences are changing our organisation for the better too.

I’m hugely grateful to conductor Tim Anderson for leading this project – and we welcome Martin France and Alex himself onstage as performers, as well as a chorus from the Belham Primary School, Southwark. We are pleased to be part of Southbank Centre’s SoundState festival and trust – as they do – that normal concert giving is back to stay. During and since the pandemic, we now release regular content online and would encourage you to sign up and follow our YouTube Channel. We are also recording tonight’s concert for future broadcast on BBC Radio 3.

We are grateful to those who have supported this project – funders of our Writing the Future programme and this concert, as well as those who underwrite the organisation that is the London Sinfonietta. We recognise we are in an extraordinarily privileged position to even be able to meet and perform live music when conflict exists elsewhere – made ever more real by war in Europe being so close to home now. We all hope peace can return to Ukraine soon.

Thanks for your support of this concert tonight by being with us and we hope you may choose to stay in touch and find out more about the work we do.

Andrew Burke Chief Executive and Artistic Director

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WHAT WE DO NEW MUSIC FOR NEW AUDIENCES The London Sinfonietta always strives to extend its reach to more people with the inspiring sound of new music.

This season we are encouraging everyone to Take Your Place back with us in our live and online work. It's a season with a lot of new work - 24 commissions and world premieres - as well as events which celebrate powerful pieces from our past repertoire. The new work includes music from different genres - from contemporary classical to jazz and experimental - and collaborations with different art forms including video, animation, theatre and literature.

We will also be releasing new monthly content on our London Sinfonietta Digital Channel including a regular series of performance films, videos about new music and podcasts.

"It helped me realise anyone can be a composer – even a pupil!"

Pupil response to Sound Out 2019

MUSIC IN SCHOOLS AND THE COMMUNITY The London Sinfonietta was the first ensemble in the UK to launch a dedicated music education programme. This pioneering spirit has continued and flourished ever since, expanding to include regular performances and workshops with members of the public.

One such project includes Sound Out, which facilitates groups of young people to enter the fascinating world of new music and learn more about how to compose, putting it into practice by interacting with London Sinfonietta musicians who seek to encourage and inspire the next generation of creative artists.

During the lockdowns of 2020 and 2021, we developed the programme to work online with a new set of video Composition Challenges.

Schools from around the UK have taken part, extending our reach to 12,000 young people.

LONDON SINFONIETTA CHANNEL Experience the best of the London Sinfonietta streamed directly to your device from the London Sinfonietta Channel.

DEVELOPING TALENT The London Sinfonietta supports emerging talent with its year-round programmes for composers, conductors and performers, giving early-career artists the opportunity to develop new skills and contacts as they establish themselves in the professional arena.

Our composer development scheme, Writing the Future, seeks to create new pieces of music that expand the chamber music format, and is open to music creators from all cultural and musical backgrounds who are passionate about their art form and would like the opportunity to apply that experience to writing for a contemporary music ensemble.

The London Sinfonietta Academy provides sideby-side coaching and performance opportunities to young musicians, culminating in a concert showcase.

Find out more and apply online at londonsinfonietta.org.uk/academy

"It’s been very stimulating and I’ve got so much out of it.

It’s a privilege to play next to London Sinfonietta players."

Academy Participant July 2019

This season we’re bringing you monthly releases of new performance films, celebrating landmark works from the 20th and 21st century, including Tōru Takemitsu’s Rain Coming, Tania León’s Toque, Mica Levi’s Greezy and Steve Reich’s Violin Phase. For podcast lovers, Yet Unheard explores the experiences of black composers, hosted by Jumoké Fashola.

Find out more at londonsinfonietta.org.uk/channel

CANDYFOLK SPACE-DRUM This is a piece of music I have written so that it can be played to an audience by notation-readerlike-musician-soloists who like it, improvising musicians who like it, a drummer who likes it, electricitysounds and some children who like it also. These are the best sounds I can imagine these people making, I think it will also be also be fun to watch.

Snakes can’t see you when your blue they only see in hot and cold and other cups of tea CANDY like when its sweet sticky and covered in fluff n stuff if it falls on the floor for FOLK folks dancin’ all over the hill, in ur head, n on the floor SPACE place between the buildings where there is no stuff but you can still dreammusics if you have the right DRUM BANG BANG BANG BANG BANG drum.

Dogs can’t see you when your blue they only see in black and white and other funny smells Pink n blue rabbits, gradients of zeppelin, puffin, smileyface, cat, that-bit-of-foil-thingyyou-tearoff(inahurry)-to-get-a-paracetamolpill-from-theparacetamol-packet, smudge, smear, chucksmack, TF-255, somfing alive that wouldn’t die, face down in it, glowing back-@-u you like mud, PVA glue, many-irised monsters fantasying, TF227, maybe a jelly-baby(?) with stars at either sea-cucumber-hole-end, Biona Sipre, shrimp food food for shrimps, a friendly dinosaur (I can tell), 1 lonely eye of the campest bow-head whale stuck in a harmon mute (help-me… please), top-side-down railway-granny-(nanpianos) cast shadow away from red star for effort, blue star for achievement, food, triple trouble double-shoe-food-rocket hidden in foodfood, easter-egged foot-foot shaggs many-legs (but some fell off - “we didn’t eat them!”) n a cute kitten covered in something (a truck full by the looks of it)…not sure if its edible or not (not with the usual definition of “edible”). Food Food Food Food Food Fantastical. Even me mom don’t

know it - Say what you mean - No more Thankyou!

Trees can’t see you when your blue they only see in wind and rain and other types of song We probably rely a lot on kids (atm). “OMG…I think I can hear them sing!” Sometimes kinda play-nicley-play-time-nicley perhaps? or maybe properly grim like D.N.A. Beautiful though, probably… yeah, for sure.

Maybe be even some birds too?

Everyone likes birds.

If you like birds you will probably like Candyfolk Space Drum. (*bird sound tbc) If your still not sure about it…Here are some of the lyrics to the piece “Na na na! la la la la la la la la la la la la la la la la la la la la Ah, ah, Ahhhhh! Woahow!

Ah! Nyair, nyair, nyair, nyair, nyair, nyair, Na na na la la la la la la la la la la" Alex Paxton

ALEX PAXTON Alex Paxton (b 1990) is an award-winning composer & improvising trombonist based in the UK. "Highly innovative...of exceptional creative imagination and musical energy, packed with life force unlike anything else” Ivor Novello British Composer Awards (Winner 2022);"A riotous overabundance of love and rage..an extraordinary experience” The Wire Magazine In 2021 Alex was awarded an Ivor Novello Composer award for his piece SOMETIMES VOICES He has been nominated for the Gaudeamus Award for 2022 and was elected to the 9th International Composition Seminar and awarded a commission ILOLLI-POP for Improviser and Ensemble which he played with Ensemble Modern (Frankfurt, Germany). He has been awarded the London Sinfonietta’s Writing the Future commission and has won the RPS Royal Philharmonic Society Composition Prize, DANKWORTH JAZZ prize for composition BYE and was made a London Symphony Orchestra Panufnik Composer. Alex played and recorded his concerto OD ODY PINk’d for Jazz Musician and Royal National Scottish Orchestra (RSNO). He was a Leverhume Art Scholar with the London Philharmonic Orchestra 2016-2017: NOW WE ARE DUH-DUR and has been awarded the Harriet Cohen Memorial Music Award for his compositions. His piece SPAKE represented the UK in the Orchestral section of the International Society of Contemporary Music (ISCM). He is a commissioned contributor to John Zorn’s Arcana X 2021.

WRITING THE FUTURE

Since it was established in 1968, the London Sinfonietta has commissioned over 450 pieces of new music. From working with the best emerging and established composers, to collaborating with artists from other genres and disciplines, and bringing music outside of the concert hall to clubs, art galleries and public spaces, we constantly push the boundaries of what an ensemble can be.

Writing the Future is an open-call programme which supports emerging composers and music creators through the process of making new music with the ensemble, using techniques such as immersive staging, speech transcription, and tapestry as compositional inspiration over a two-year period.

Our four composers for the current round of Writing The Future (2019-22) are Nwando Ebizie, Luke Lewis, Alex Paxton and Alicia Jane Turner.

Look out for recordings of Alicia Jane Turner's and Luke Lewis' pieces on our Channel, or join us next season for the premiere of Nwando Ebizie's piece.

EMERGENT This work, written for Claire Chase’s Density 2036 project, addresses Edgard Varèse’s avowed preference for sound-producing machines over sound-reproducing ones by productively conflating the two. The combination of relatively long digital delays, interactive digital spatialization, and timbre transformation transforms the fully scored flute material into a virtual, quasi-improvisative orchestral space, creating a dance among multiple flutists following diverse yet intersecting trajectories in which nonlinearity is invoked and uncertainty is assured. Rather than presenting the redundant truism of a composer “working with time,” this work is created in dialogue with my deliberate misprision of Varèse’s stated intention for his 1958 Poème électronique to introduce “a fourth [dimension], that of sound projection” to music.

Varèse’s statement seems to obliquely invoke the notion of spacetime, an interpretation supported by a 1968 account of one of the composer’s dreams that suggests the related notion of quantum teleportation as well as the sound of my piece: “He was in a telephone booth talking to his wife, who was at the time in Paris. His body became so light, so immaterial, so evanescent that suddenly, limb by limb, he disintegrated and flew away toward Paris, where he was reconstructed, as though all his being had become spirit.”

George Lewis

GEORGE LEWIS George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A Fellow of the American Academy of Arts and Sciences and a Corresponding Fellow of the British Academy, Lewis’s other honors include a MacArthur Genius Award (2002), a Guggenheim Fellowship (2015), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts. Most recently Prof.

Lewis received an honorary doctorate from Harvard University and became a member of the American Academy of Arts and Letters (2018).

Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work in electronic and computer music, computer-based multimedia installations, and notated and improvisative forms is documented on more than 150 recordings. His work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, Mivos Quartet, Boston Modern Orchestra Project, London Sinfonietta, Spektral Quartet, Talea Ensemble, Dinosaur Annex, Ensemble Pamplemousse, Wet Ink, Ensemble Erik Satie, Eco Ensemble, and others, with commissions from American Composers Orchestra, International Contemporary Ensemble, Harvestworks, Ensemble Either/Or, Orkestra Futura, Turning Point Ensemble, San Francisco Contemporary Music Players, 2010 Vancouver Cultural Olympiad, IRCAM, and others.

THE DEFORMATION OF MASTERY The terms “deformation of mastery” and “mastery of form” come from African American literary theorist Houston A. Baker Jr.'s influential 1987 book, Modernism and the Harlem Renaissance. Even though Baker is largely discussing literary and historical figures and works, his invocation of these two strategies are intended to produce “more accurate and culturally enriching interpretations of the sound and soundings of Afro-American modernism than do traditional methods.” In Baker's words, while mastery of form "conceals, disguises, floats like a trickster butterfly in order to sting like a bee” (think Florence Price, or Julia Perry), deformation of mastery "distinguishes rather than conceals. It secures territorial advantage and heightens a group's survival possibilities.” Here, I am reminded of musicologist Ryan Dohoney’s account of Julius Eastman’s notorious 1975 performance of John Cage’s Song Books—not only a deformation of mastery, but also, perhaps, a challenge to the master himself--a raucous, post-Stonewall queer assertiveness that proved quite unsettling to Cage. Thus, the title of this work closely tracks its sonic intent: deformation, disruption, breakdown, having no truck whatsoever with any received notions of authenticity in Afrodiasporic sonic expression, or indeed any expression. The aim of this music is to remind its hearers of our endemic condition of instability, fostering not only a subliminal psychological discouragement of complacency, but also a celebration of mobility. I’m allowing myself to hope that, as with Baker’s work, these values migrate beyond the sounds of the piece to the consideration of larger issues in our lives.

George Lewis

FIND OUT MORE

There are several recordings of George Lewis' music and musical musings on the London Sinfonietta Channel: LONDON SINFONIETTA LIVE ONLINE George joined us on Zoom for a fascinating interview about his piece The Deformation of Mastery as part of our London Sinfonietta Live Online live stream on 3 February.

YET UNHEARD PODCAST A fascinating two-part podcast exploring the lived-experiences of the black composers and performers, hosted by Jumoké Fashola and including interviews with George Lewis, Elaine Mitchener, Hannah Kendall, Leila Adu-Gilmore and Vimbayi Kaziboni.

YET UNHEARD George co-curated this varied and powerful concert, filmed in November 2020.

Featuring George's piece Assemblage, as well as music by Jason Yarde, Leila AduGilmore, Hannah Kendall, Tania León, and Courtney Bryan.

Visit londonsinfonietta.org.uk/Channel to access all this and more.

BIOGRAPHIES

CLAIRE CHASE

MARTIN FRANCE

flute

jazz drum kit

Claire Chase is a soloist, collaborative artist, curator and advocate for new and experimental music. Over the past decade she has given the world premieres of hundreds of new works for the flute in performances throughout the Americas, Europe and Asia, and she has championed new music throughout the world by building organizations, forming alliances, pioneering commissioning initiatives and supporting educational programs that reach new audiences. She was named a MacArthur Fellow in 2012, and in 2017 was awarded the Avery Fisher Prize.

Throughout a career spanning over thirty five years Martin France has performed and recorded with some of the world's finest and creative musicians. He has performed in all five continents including concerts and tours in over forty countries worldwide. He is currently Professor of Jazz - Drums/Percussion at the Royal Academy of Music in London.

In 2014 Chase launched Density 2036, a 22-year commissioning project to create an entirely new body of repertory for flute between 2014 and 2036, the centenary of Edgard Varèse’s groundbreaking 1936 flute solo, Density 21.5.

Each season as part of the project, Chase premieres an evening of new music, with pieces so far by composers including Du Yun, Vijay Iyer, George Lewis, Pauline Oliveros, and Matthias Pintscher, among many others. She will release world premiere recordings of all of the Density pieces in collaboration with Meyer Sound Laboratories in Berkeley, CA.

Martin began performing at the age of twelve backing singers in Working Men's clubs with Organ trios in and around Manchester in the North of England. He studied under Geoff Riley, Kenny Clare and Richard Smith - Principal Percussionist with the Halle Orchestra. After moving to London in 1983 he began his recording career performing on several records for Manfred Eicher’s ECM label. He has since gone on to record over one hundred CD’s for a variety of different artists since his ECM debut.

He has been invited to perform with many orchestras such as the London Symphony Orchestra, Britten Sinfonia, London Sinfonietta, BBC Concert Orchestra, National Symphony Orchestra of Wales, Liverpool Philharmonic, City of London Sinfonia, Royal Scottish National Orchestra, BBC Radio Big Band, BBC Philharmonic, Orchestre Philharmonique du Luxembourg, ASKO Ensemble - Amsterdam, Danish Radio Big Band - Copenhagen, and more.

TIM ANDERSON conductor Born in London in 1992, the young Anglo-German conductor Tim Anderson began his conducting career after being invited to conduct at the Teatro Real immediately after graduating from New College, Oxford. Since then has worked in many of the great opera houses of Europe and is becoming increasingly known for performances of intensity and high drama, particularly in repertoire of the 20th and 21st centuries. At Oxford Tim held an instrumental scholarship as a pianist and the University's Joan Conway Scholarship in performance studies as a conductor. He has studied conducting with Peter Stark, Michael Omer, and at the Jorma Panula Academy in Helsinki, and participated in masterclasses with Bernard Haitink. He now enjoys an active international career working on diverse operatic and concert repertoire throughout Europe.

Upcoming engagements include Philip Venables Denis and Katya at Dutch National Opera, concerts with Klangforum Wien and the London Sinfonietta, and a return to the Stadttheater Klagenfurt for the world premiere of Bernhard Lang Hiob.

LONDON SINFONIETTA The London Sinfonietta is one of the world’s leading contemporary music ensembles. Formed in 1968, our commitment to making new music has seen us commission over 450 works and premiere many hundreds more.

Our ethos today is to constantly experiment with the art form, working with the best composers and performers and collaborating with artists from alternative genres and disciplines. We commit to challenging perceptions, provoking new possibilities and stretching our audiences’ imaginations, often working closely with them as creators, performers and curators of the events we stage.

Resident at the Southbank Centre and Artistic Associate at Kings Place, with a busy touring schedule, the London Sinfonietta’s core 18 Principal Players are some of the finest musicians in the world. As well as our commitment to reaching new audiences with world-class performances of new music, the organisation holds a leading position in education

work. We believe that arts participation is transformational to individuals and communities, and that new music is relevant to all our lives.

These values are enacted through primary and secondary school concerts across the UK, interactive family events, and the annual London Sinfonietta Academy; an unparalleled opportunity for young performers and conductors to train with us. We have also broken new ground by launching a new digital Channel, featuring video programmes and podcasts about new music.

Our Steve Reich’s Clapping Music App for iPhone, iPad and iPod Touch, a participatory rhythm game that has been downloaded over 640,000 times worldwide and is still inspiring users in places as far away as China and Japan. Adding to a significant back-catalogue of recordings dating back over 50 years, recent recordings include Ryan Latimer's NMC Debut Disc Antiarkie (NMC; 2021), Josep Maria Guix's Images of Broken Light (Neu Records; 2020), and Marius Neset’s Viaduct (ACT; 2019).

TONIGHT’S PLAYERS Helen Keen flute/piccolo/alto flute Gareth Hulse* oboe Timothy Lines clarinet/bass clarinet Sarah Burnett bassoon Alexander Boukikov french horn Holly Clark trumpet Bruce Nockles trumpet Ruth Molins trombone Darragh Morgan violin Elizabeth Wexler violin Paul Silverthorne* viola Tim Gill* cello Enno Senft* double bass Helen Tunstall* harp David Hockings* percussion Rolf Hind piano Clíodna Shanahan piano *London Sinfonietta Principal Player

STAY IN TOUCH Whatever your interest in new music – as a composer, performer, teacher, student, amateur musician, or as an audience member interested in contemporary arts – we welcome you to our community.

Sign up to our mailing list to receive: • A fortnightly newsletter with concert information, announcements and digital content • Open calls for composers, musicians and public participants • Advance news of projects, recording releases and commissions To stay in touch, please sign up to our e-list: londonsinfonietta.org.uk/sign-up Or find us on social media by searching London Sinfonietta

SUPPORT US

We inspire audiences and involve the public in exciting sounds and performances. We spark imaginations and develop young people’s creativity. We train the next generation of performers and composers. We tell people’s stories. We make new music.

By making a donation to the London Sinfonietta, you can help create world-class new music projects both onstage and online for audiences to enjoy all around the world. You can help us reach thousands of young people each year through our composition programmes in schools, and you can enable us to provide world-class training to the next generation of performers, composers and conductors.

Fundraising accounts for 32% of our annual income. Without the generous support of individuals, sponsors and charitable trusts, we simply would not be able to achieve the scale of work that we are able to deliver with your help – inspiring a wide audience around the UK and internationally with the best music of today.

BECOME A PIONEER London Sinfonietta Pioneers provide a bedrock of support for all the work that we do – supporting all areas of the London Sinfonietta’s new music-making, and enabling us to reach an ever-wider audience with the music of today. And you'll gain a closer insight into our work, with access to open rehearsals and exclusive behind-the-scenes updates.

London Sinfonietta Pioneer membership starts from just £50. Visit our website to find out more and join us in pioneering new music today. londonsinfonietta.org.uk/support-us

CURRENT SUPPORTERS London Sinfonietta would like to thank the following organisations and individuals for their support: TRUSTS AND FOUNDATIONS Art Mentor Foundation Lucerne, Aspinwall Educational Trust, Barbara Whatmore Charitable Trust, Boltini Trust, Britten Pears Foundation (now Britten Pears Arts), Cockayne - Grants for the Arts, The D'Oyly Carte Charitable Trust, Ernst von Siemens Music Foundation, Fenton Arts Trust, The Fidelio Charitable Trust, Garfield Weston Foundation, Golsoncott Foundation, The Harold Hyam Wingate Foundation, Hodge Foundation, Jerwood Arts, John Ellerman Foundation, The Leche Trust, Leverhulme Trust, The Lord and Lady Lurgan Trust, Lucille Graham Trust, The Marchus Trust, Michael Tippett Musical Foundation, The Nugee Foundation, PRS for Music Foundation, Rainbow Dickinson Trust, RVW Trust, Stanley Thomas Johnson Foundation, Steven R. Gerber Trust, Summerfield Charitable Trust, UK Antarctic Heritage Trust HONORARY PATRONS David Atherton OBE John Bird Sir Harrison Birtwistle Alfred Brendel KBE Gillian Moore MBE Nicholas Snowman OBE ENTREPRENEURS Mark & Grace Benson Sir Vernon Ellis Annabel Graham Paul Penny Jonas Anthony Mackintosh Robert McFarland Michael & Patricia McLaren-Turner Stephen & Dawn Oliver Matthew Pike Nick & Claire Prettejohn Paul & Sybella Zisman The London Sinfonietta Council SINFONIETTA CIRCLE Andrew Burke Susan Costello Dennis Davis Regis Gautier-Cochefert Susan Grollet John Hodgson Charlotte Morgan Diane V. Silverthorne Andy Spiceley Fiona Thompson

Paul & Sybella Zisman ARTISTIC PIONEERS Sharon Ament Anton Cox Nicholas Hodgson Philip Meaden Simon Osborne CREATIVE PIONEERS Ian Baker Ariane Bankes Frances Bryant Andrew Burke Jeremy & Yvonne Clarke Dennis Davis Lucy de Castro Richard & Carole Fries John Goodier Patrick Hall Chris Heathcote Simon Heilbron Andrew Hunt Frank & Linda Jeffs Walter A. Marlowe Belinda Matthews Stephen Morris Andrew Nash Julie Nicholls Richard Price Malcolm Reddihough Iain Stewart Susan Sturrock Mark Thomas Fenella Warden Jane Williams Plus those generous Lead, Artistic and Creative Pioneers who prefer to remain anonymous, as well as our loyal group of Pioneers.

PRINCIPAL PLAYERS Michael Cox flute (supported by Michael and Patricia McLaren-Turner) Gareth Hulse oboe (supported by John Hodgson) Mark van de Wiel clarinet (supported

by Regis Gautier-Cochefert) Simon Haram saxophone Byron Fulcher trombone Jonathan Morton first violin (supported by Paul and Sybella Zisman) Paul Silverthorne viola (supported by Nick & Claire Prettejohn) Tim Gill cello (supported by Sir Stephen Oliver QC) Enno Senft double bass (supported by Anthony Mackintosh)

Helen Tunstall harp (supported by Charlotte Morgan) David Hockings percussion (supported by Andy Spiceley) LONDON SINFONIETTA COUNCIL Fiona Thompson chair Sud Basu Andrew Burke Tim Gill (principal player) Annabel Graham Paul Kathryn Knight Charlotte Morgan Jonathan Morton (principal player) Paul Silverthorne (principal player) James Thomas Ben Weston LONDON SINFONIETTA STAFF Andrew Burke Chief Executive & Artistic Director Frances Bryant General Manager Elizabeth Davies Head of Finance Volker Schirp Financial Assistant Holly Cumming-Wesley Head of Concerts & Production Natalie Marchant Head of Concerts & Production (maternity leave) Madeleine Ridout Events Producer Deborah Famodun Digital and Production Assistant Rhuti Carr Head of Participation & Learning Aoife Allen Participation & Learning Producer Phoebe Walsh Marketing Manager Isaku Takahashi Marketing Officer Eleanor Killner Development & Events Assistant Adam Flynn Digital Productions Manager AMBASSADORS Penny Jonas Anthony Mackintosh Robert McFarland Belinda Matthews Philip Meaden Sir Stephen Oliver QC FREELANCE & CONSULTANT STAFF Hal Hutchison Concert Manager Lesley Wynne Orchestra Personnel Manager Tony Simpson Lighting Designer Megan Russell Event Producer WildKat PR The London SInfonietta is grateful to its auditors and accountants MGR Weston Kay LLP.

LONDON SINFONIETTA'S 2021/22 SEASON AT THE SOUTHBANK CENTRE LEANING EAST Celebrating contemporary musical life in Poland with two world premieres Wed 27 April, Queen Elizabeth Hall LONG SONG OF SOLITUDE Claude Vivier's masterpiece Lonely Child, plus a new work by Nicole Lizée inspired by Vivier Fri 6 May, Queen Elizabeth Hall ILLUSIONS Philip Venables' and David Hoyle's anarchic and uncompromising piece of multimedia performance art, part of New Music Biennial 2022 Sun 3 July, Queen Elizabeth Hall

For full details and to book visit londonsinfonietta.org.uk or southbankcentre.co.uk Find us on social media: @Ldn_Sinfonietta london.sinfonietta LondonSinfonietta LondonSinfonietta london.sinfonietta