RCM Symphony Orchestra Programme 28 April 2016

JUROWSKI CONDUCTS STRAVINSKY: RCM SYMPHONY ORCHESTRA Thursday 28 April 2016, 7.30pm Amaryllis Fleming Concert Hall

2016 ROD WILLIAMS MEMORIAL CONCERT

JUROWSKI CONDUCTS STRAVINSKY: RCM SYMPHONY ORCHESTRA Thursday 28 April 2016, 7.30pm | Amaryllis Fleming Concert Hall 2016 ROD WILLIAMS MEMORIAL CONCERT Vladimir Jurowski conductor Katie Coventry soprano Peter Aisher tenor Kieran Rayner bass baritone RCM Symphony Orchestra

R Strauss

Le bourgeois gentilhomme (35’)

INTERVAL Stravinsky

Pulcinella (35’)

In the interests of safety, sitting or standing on the steps, gangways or floors in any part of the auditorium is strictly prohibited.

Please turn off your mobile phone to avoid any disturbance to the performance.

All private sound and video recordings are prohibited.

Photography before and during performances is not permitted. You may take photographs only during applause.

Latecomers will not be allowed into the auditorium until there is a suitable break in the performance.

Smoking is not permitted in any part of the building. Your co-operation is appreciated.

Le bourgeois gentilhomme op 60

Ouverture

Richard Strauss (1864-1949)

Menuett (Minuet) Der Fechtmeister (The Fencing Master) Auftritt und Tanz der Schneider (Entry and Dance of the Tailors) Das Menuett des Lully (Lully's Minuet) Courante Auftritt des Cléonte (Entry of Cléonte) (after Lully) Vorspiel (Intermezzo) Das Diner (The Dinner) The collaboration between Richard Strauss and librettist Hugo von Hofmannsthal was one which produced several successes, most notably Der Rosenkavalier in 1910. But one hit does not necessarily guarantee another, as the pair discovered in the course of their attempts to produce a new version of Le bourgeois gentilhomme.

The inspiration for this project came from von Hofmannsthal, whose idea was to revive the original 17th-century play by Molière to act as the prelude for a one act opera. This ambitious plan was not entirely without historical precedent, since the premiere performance in 1670 had included incidental music by Jean-Baptiste Lully, the principal composer of the French royal court. The plot centres on Monsieur Jourdain, a foolish middleaged ‘bourgeois’, whose one aspiration in life is to transform himself into a cultured nobleman.

Strauss and von Hofmannsthal made no fewer than three attempts to mount their own theatrical version of Le bourgeois gentilhomme. The first of these versions premiered in 1912, with the play and its incidental music leading into their opera, Ariadne auf Naxos.

However, it quickly became apparent that the work was far too long and costly to be a success. Two attempts were made to modify and remount the production, but these also proved unsuccessful. Finally, in 1920, Strauss created an orchestral suite from his original incidental music for the play, which immediately proved to be a huge success in Vienna.

In a departure from his usual style, Strauss’s music for this suite has a distinctly Baroque flavour. Movements five, six and seven are based upon airs by Lully, composer of the incidental music for the original 1670 production of the play. These are not the only references to other works, however. In the final movement, Das Diner (The Dinner), Strauss makes several witty musical quotations. Wagner’s ‘Rhine’ music makes a fleeting appearance during the fish course, while the mutton is accompanied by a quotation from the composer’s own ‘sheep music’ in Don Quixote, and the final scene, where the guests are led into a dance, concludes with a traditional Viennese waltz. © Isobel Clarke (RCM Doctoral Programme)

Pulcinella Overture

Igor Stravinsky (1882-1971)

Serenata: Mentre l'erbetta - Larghetto - Scherzino - Allegro - Andantino - Allegro (tenor) Allegretto: Contento forse vivere - Allegro assai - Allegro (alla breve): Con queste paroline Andante: Sento dire no'nce pace - Allegro: Nce sta quaccuna po' - Presto: Una te fa la 'nzemprece - Larghetto (soprano, tenor, bass) Allegro alla breve - Tarantella Andantino: Se tu m'ami - Allegro (soprano) Gavotta con due variazioni: Allegro moderato Vivo Tempo di minuetto: Pupillette, fiammette d'amore - Finale: Allegro assai (soprano, tenor, bass) “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible. It was a backward look, of course — the first of many love affairs in that direction — but it was a look in the mirror, too.”1 -Igor Stravinsky

Pulcinella is Igor Stravinsky’s fifth ballet, and after Petrushka is his second composition inspired by puppets. The work marks the fourth collaborative effort between Stravinsky and Ballets Russe founder Sergei Diaghilev, who oversaw the legendary 1913 production of The Rite of Spring as well as Petrushka (1911) and The Firebird (1910).

Diaghilev wanted to produce a ballet inspired by the music of opera buffa composer Giovanni Battista Pergolesi. Stravinsky was approached about the collaboration in 1919, but initially declined because he was not fond of Pergolesi’s works. He underwent a change of heart after Diaghilev showed him manuscripts in his possession. The scores shown to Stravinsky have since been attributed to a number of Pergolesi’s contemporaries rather than Pergolesi himself. However, the similarity in style have caused Pulcinella to mark the beginning of what would become Stravinsky’s Neoclassical period.

Pulcinella’s sparse orchestration contrasts with the lush, brass heavy sonorities that have become associated with Stravinsky’s early works. The piece utilizes time signatures of Pergolesi’s contemporaries, a deliberate effort on Stravinsky’s part to evoke early musical idioms. Pulcinella directly quotes excerpts of bass lines from the Pergolesi manuscripts shown to Stravinsky by Diaghliev, and only occasionally does Stravinsky add his own mark with modern harmonies. Pulcinella is distinctive from traditional scores as it features a chamber orchestra as well as soprano, tenor and bass soloists. The ballet premiered in 1920 at the Paris Opera with sets and costumes designed by Pablo Picasso. Stravinsky revised the work in 1949 into an orchestral suite in eight movements without vocal soloists.

Pulcinella’s name is derived from the Italian word, “Pulcino”, which translates to “chick” and refers to his long, beak like nose. Typically portrayed as a jester figure, Pulcino is a stock character of Neapolitan puppetry. The “Pulcinella” character originates from the Commedia dell’arte tradition, and is the inspiration for “Punch” in the “Punch and Judy” puppetry skits.

The plot of the ballet is comprised of a series of episodes centering on the theme of amorous pursuit – most notably those of Pulcinella, who has had the misfortune of being the object of affection of not one, but three women, much to the annoyance of their respective boyfriends. He has to outwit the jealous boyfriends and appease his own girlfriend. In the end, Pulcinella manages to arrange a happy ending for all involved, and the ballet closes with the weddings of the three couples. © Erin R McHugh (RCM Doctoral Programme) Igor Stravinsky and Robert Craft, Expositions and Developments (Berkeley: University of California Press, 1981) 128 1

Tenor: Mentre l’erbetta pasce l’agnella, sola, soletta la pastorella tra fresche frasche per la foresta cantando va.

While the lamb grazes on the grass, the shepherdess, all alone amid the leafy groves, goes singing

Soprano: Contento forse vivere nel mio martir potrei, se mai potessi credere che ancor lontan, tu sei fedele all’amor mio, fedele a questo cor.

Perhaps I might live content in my torment if I could ever believe that, although far away, you were faithful to my love, faithful to this heart.

Bass: Con queste paroline così saporitine il cor voi mi scippate dalla profondità.

Bella, restate quà, che se più dite appresso io cesso morirò.

Cosi saporitine con queste paroline il cor voi mi scippate, morirò, morirò.

With these little words, so sweet, you tear my heart out from its very roots.

Fair one, stay here, since if you say any more, I will surely die.

With these little words, so sweet you tear my heart out; I shall die, I shall die.

Soprano, Tenor, Bass: Sento dire no’ncè pace.

Sento dire no’ncè cor, ma’ cchiù pe’tte, no, no, no’ncè carma cchiù pe’tte.

I hear it said there’s no peace, I hear it said there’s no heart; for you, alas, no, never, there’s no more peace for you.

Tenor: Chi disse ca la femmena se cchiù de farfariello disse la verità.

Whoever says that a woman is craftier than the devil speaks the truth, the very truth.

Soprano: Ncè sta quaccuna po’ che a nullo vuole bene e a cciento ‘nfrisco tene schitto pe’ scorcoglia, e ha tant’antre malizie chi mai le ppo’ conta’.

There are some women who care for no one and keep a hundred on a string, openly deceiving them all, and up to so many tricks, so many, many tricks, that no one could ever count them.

Tenor: Una te fa la zemprece ed è malezeosa, ‘n’antra fa la schefosa e bo’ lo maretiello.

Chi a chillo tene ‘ncore e ha tant’antre malizie chi mai le ppò conta’. e lo sta a rrepassa’.

There are those who feign innocence, yet are cunning; others act haughtily, yet want to catch a husband.

Others cling tight to a man, yet are up to so many tricks that no one could count them.

Who could ever count them all?

Tenor: Una te fa la zemprece ed è malezeosa, ‘n’antra fa la schefosa e bo’ lo maretiello.

Ncè stà quaccuno po’ chi a nullo - udetene chi a chillo tene’ncore, e a chisto fegne amore e a cciento ‘nfrisco tene schitto pe’ scorcoglia’, e a tant’antre malizie chi maie le ppò conta’.

There are those who feign innocence, yet are cunning; others act haughtily, yet want to catch a husband.

There are some, too, who love no one—listen to me— who cling tight to one man yet make eyes at another, and keep a hundred on a string, openly deceiving them all, and up to so many, many tricks that no one could count them.

Soprano: Se tu m’ami, se tu sospiri sol per me, gentil pastor, ho dolor de’ tuoi martiri ho diletto del tuo amor, ma se pensi che soletto io ti debba riamar, pastorello, sei soggetto facilmente a t’ingannar.

Bella rosa porponna oggi Silvia sceglierà con la scusa della spina doman poi la sprezzerà.

Ma degli uomini il consiglio io per me non seguirò.

Non perchè mi piace il giglio gli altri fiori sprezzerò.

If you love me, if you sigh for me alone, gentle shepherd, I grieve for your suffering.

I delight in your love.

But if you think that in return I should love you alone, dear shepherd, you’re likely to be proved wrong.

Today, Sylvia chooses a beautiful red rose, but tomorrow she will spurn it on the pretext of a thorn.

And, as for me, I won’t follow the advice of men: just because I like the lily I won’t disdain other flowers.

Soprano, Tenor, Bass: Pupillette, fiammette d’amore, per voi il core struggendo si va.

Sweet eyes, bright with love, for you my heart languishes.

Vladimir Jurowski One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13).

He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin Philharmonic, New York Philharmonic and Rundfunk Sinfonieorchester Berlin; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Moses und Aron at Komische Oper Berlin and Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. The Glyndebourne production of Wagner's Die Meistersinger von Nürnberg, led by Vladimir Jurowski with the London Philharmonic Orchestra and Glyndebourne Chorus won the 2015 BBC Music Magazine Opera Award.

Future highlights include his Bayerische Staatsoper debut with Prokofiev's The Fiery Angel.

As well as return visits to leading US orchestras and his debut at the Salzburg Easter Festival at the helm of the Staatskapelle Dresden, 2015/16 season highlights also include bringing together the London Philharmonic Orchestra and State Academic Symphony of Russia to perform Schoenberg's Gurre-Lieder at the Mstislav Rostropovich Festival in Moscow.

Katie Coventry Katie is a mezzo-soprano from Perthshire and is currently studying at the Royal College of Music International Opera School with Tim Evans-Jones. She is a Drapers’ De Turckheim Scholar supported by a South Square Trust Award and is generously supported by the Countess of Munster Trust, the Cross Trust, a Sir James Caird Travelling Scholarship Award and the Josephine Baker Trust. After achieving first class honours in history and music at Royal Holloway, University of London, Katie continued her studies at the RCM where she graduated with a Masters of Performance with distinction.

Recent roles for RCMIOS include Prince Orlofsky for John Copley’s Die Fledermaus, Nancy for Liam Steele's Albert Herring, Zweiter Knabe Die Zauberflöte (Jean-Claude Auvray), and L’Écureuil and La Chatte L’enfant et les sortilèges (James Bonas). Other roles include Ariodante for the London Handel Festival and The Fox The Cunnning Little Vixen, Third Singing Apple The Little Green Swallow (British Youth Opera). Upcoming performances include the role of Hänsel for RCMIOS, Mazet for Opera Danube and West Green House Opera’s La Colombe and Kate Julien for British Youth Opera’s Owen Wingrave.

Peter Aisher Peter Aisher is a British tenor training at the Royal College of Music International Opera School, where he is the Janet & Michael Levesley Scholar supported by a Douglas & Hilda Simmonds Award and by the Josephine Baker Trust.

Peter read Astrophysics at Clare College, Cambridge before arriving at the RCM, where he studies with Tim Evans-Jones. He graduated from his postgraduate studies with distinction and was the winner of the Ted Moss & Bertha Taylor-Stach Prize for Lieder, and of the Joan Chissell Schumann Prize. He was recently awarded the Schubert Society Singer Prize at the 2015 London Song Festival.

Operatic roles include: Lurcanio Ariodante (London Handel Festival), Alfred Die Fledermaus (RCMIOS, CUOS), Albert Albert Herring (RCMIOS), Arete/Giove Giove in Argo (London Handel Festival), Alfredo La traviata (Rye Festival Opera, Euphonia), Tamino The Magic Flute (Opera Cocktail), Ferrando Così fan tutte (Opera Lyrica), Don Ottavio Don Giovanni (Rye Festival Opera), Apollo/Demus Jason (English Touring Opera), Torquemada L’heure espagnole (RCMIOS), Nemorino L’elisir d’amore (scenes), Rodolfo La bohème (scenes), Gontran La Vie Parisienne (RCMIOS). Current season plans include Alfredo La traviata with Clonter Opera, Borsa Rigoletto for Nevill Holt Opera, and appearances at the London Song Festival and the Oxford Lieder Festival.

Kieran Rayner Kieran Rayner is a New Zealand baritone studying for a Masters of Performance at the Royal College of Music with Russell Smythe, with a Stephen Catto Memorial Scholarship.

Kieran was a 2012-13 Emerging Artist with New Zealand Opera. Roles include: Eisenstein Die Fledermaus, Vicar Gedge Albert Herring (RCMIOS); Forester Cunning Little Vixen (British Youth Opera); Blacksmith The Glass Knight (Saffron Hall, world premiere); Figaro Barber of Seville (Park Opera); Marchese d'Obigny La Traviata (NZO); Guglielmo Così fan tutte; Melisso Alcina; Lord Sidney Journey to Rheims; Maximillian Candide; Falke Die Fledermaus; Demetrius A Midsummer Night’s Dream. Concert highlights include: Mahler Lieder eines fahrenden Gesellen; Ravel Histoires Naturelles; Haydn Seasons and Creation; Handel Messiah; Bach Christmas Oratorio; Gounod St Cecilia Mass (Les Alizés, New Caledonia). For 2016-17, Kieran has accepted a place at the RCM International Opera School.

RCM Symphony Orchestra The Royal College of Music Symphony Orchestra plays with conductors and musicians of the highest international stature, and is frequently invited to perform in prestigious venues across London and beyond. The orchestra also performs regularly at its home in South Kensington, and its concerts are broadcast live to an international audience via the RCM website. Equally at home in classical, romantic and contemporary repertoire, the RCM Symphony Orchestra enjoys close relationships with some of the world’s most celebrated conductors, including Bernard Haitink, Vladimir Jurowski, Vladimir Ashkenazy and Sir Roger Norrington. Their willingness to return is evidence of the consistently high standards of playing that the RCM orchestral musicians achieve.

The members of the RCM Symphony Orchestra are some of the world’s very best young instrumentalists. They have chosen to study at the RCM because of its unrivalled blend of superlative teaching, extensive performance opportunities, and close connections with the orchestral profession. In addition to the many professors who are active professional instrumentalists, the RCM participates in side-by-side and other experience schemes with, amongst others, the BBC Symphony Orchestra, the London Symphony Orchestra, the Orchestra of English National Opera, the Philharmonia and the Royal Philharmonic Orchestra. This enables students to experience professional conditions and achieve professional standards before they graduate. The RCM’s long tradition of high-quality orchestral training has launched the careers of many distinguished orchestral players over several decades.

Founded in 1882, the RCM moved to its present site on Prince Consort Road in 1894.

Illustrious alumni include Benjamin Britten, Ralph Vaughan Williams, Gustav Holst, Dame Joan Sutherland, Sir Thomas Allen, Sir Colin Davis, John Wilson, Alina Ibragimova, Gerald Finley and Sarah Connolly. In addition to its 750 full time students, the College engages dynamically with a wider and more diverse community of children and adults through a dedicated range of creative activities delivered by RCM Sparks’ education and participation projects, RCM Junior Department programme and the Creative Careers Centre. A further development is the growing schedule of live-streamed concerts and masterclasses which can be viewed on www.rcm.ac.uk.

The RCM would like to thank the following orchestral coaches: Clare Duckworth concertino violins Robert Turner viola Amanda Truelove cello Enno Senft double bass Clare Duckworth strings Roger Harvey brass David Hockings percussion Tim Lines woodwind and woodwind, brass & percussion Marius Stravinsky tutti

Stravinsky strings

Strauss strings

Horn

Helena Jacklin* Concertino

Violin

Florence Rousseau*

Johannes Marmen Lasma Taimina* (violin I) Emmanuel Bach* Ines Soares Delgado (violin II) Francina Moll Salord Lowri Thomas* (viola) Julia Liang* Deni Teo* (cello) Tatiana Gachkova Philip Nelson* (bass) Cecile Galy

Trumpet Jack Wilson (Stravinsky) Emily Harding* (Strauss) Trombone

Jonathan Hollick* Ripieno

Viola

James Maund* (bass)

May Dolan* Violin I

Naomi Watson* Helena Yah* Laura Seoane Veiga Eleonora Consta Violin II

Jacqueline Martens* Rosa Hartley Lavinia Price Anais Boyadjieva

Philippa Bint Yi Chen Lorene Carron

Percussion Cello

Stephen Matthews

Yaroslava Trofymchuk*

Fabian Edwards Cameron Lee Hyun-Gi Lee* Jess Wood*

Kieran Carter Jo Dee Yeoh* Juliette Giovacchini Bass

Sam Beck-Johnson Viola

Harp Isabel Harries

Lucy Keller

May Dolan* Philippa Bint Marijke Welch Gerardo Mendez Juarez*

Timpani Kizzy Brooks*

Flute

Piano Hamish Brown*

Dakota Martin Sofia Castillo Zambrano* (pic)

Personnel correct at the time of going to print.

Yaroslava Trofymchuk*

Oboe

Carolina Bartumeu* William Walker

Charlotte Evans*

Italics denote section principals.

Bass

Clarinet

Sam Beck-Johnson

Alan Shellard*

Alfred Harries Riccardo Mazzoni*

Melissa Youngs*

Cello

Katie Potts* (cor)

Bassoon

Greg Topping* Emily Newman* (contra)

* Scholars/Award Holders generously supported by the RCM

2016 ROD WILLIAMS MEMORIAL CONCERT Peter Mills established the Mills Williams Award upon the death of his life-long partner, Rod Williams, in 1995, with the aim of supporting music and young musicians. To date, the award has endowed 20 Mills Williams Junior Fellows, and continues to fund an annual concert at the Royal College of Music. In addition, scholarships have been given to students at the Purcell School. Sadly, Peter died in September 2006 after a long battle against cancer. Happily, the Mills Williams Foundation lives on, with the objective of supporting music and young musicians under the guidance of his chosen trustees.

Rod Williams and Peter Mills Mills Williams Junior Fellows 1996/97 1997/98 1998/99 1999/00 2000/01 2001/02 2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10

Paul Robinson, voice Alexander Taylor, piano Sarah Thurlow, clarinet Damian Thantrey, voice Alexandra Wood, violin Rachel Nicholls, voice Alba Ventura, piano Elizabeth Cooney, violin Ruth Palmer, violin Gabriella Swallow, cello Anna Cashell, violin Luis Parés, piano Erik Dippenaar, harpsichord Konstantin Lapshin, piano

2010/11 2011/12 2012/13 2013/14 2014/15 2015/16

Jianing Kong, piano Frédérique Legrand, cello Yulia Deakin, piano Maksim Stsura, piano Soh-Yon Kim, violin Magdalena Loth-Hill, violin

Rod Williams (1939−1994) Purely because he was the son of a serving Army Officer on a foreign posting, Rodney Peter Williams was born in Singapore in November 1939. It was unfortunate timing. Not long thereafter his mother and the two tiny boys made their escape to Australia, and Rod’s father became a Japanese prisoner of war for four years. Eventually the family was reunited, and much of Rod’s education took place at Steyning, where he showed athletic promise. He followed his father into the Royal Engineers and once again to the Far East, where he was engaged in map-making.

Deciding that army life was not for him, he bought himself out, but continued for a while along the photogrammetry road with Fairey Aviation. Then came a career change: he embarked on accountancy and joined Unilever.

Rod Williams and I met in 1964 and quickly found that we had much in common, particularly our tastes in music, both tending to favour ancient and baroque, and late 19th and 20th-century English music − Vaughan Williams, Butterworth and Britten being particularly well-represented in our record collections.

In 1975, Rod was diagnosed with a cancer of the lymph glands, and there commenced a lengthy chemotherapy battle which he won and achieved full remission. This had the remarkable effect of making him more ambitious. He was a gentleman of courage and great good humour. In 1980, inspired by watching the London Marathon on TV, he became first a jogger, then a runner and, astoundingly, a marathon runner in London in April of 1986, and again in New York in the same year. He ran his last marathon the following year. As time relentlessly removed family ties, Rod and I decided to make reciprocal wills dedicated to the encouragement of musical excellence. This was all too timely, as in 1992 there were signs that all was not well, and Rod died in January 1994.

About a year later I approached the Royal College of Music, and thus the Mills Williams Junior Fellowship was established.

Peter Mills,1996

Music has the power to transform lives. Thanks to the generosity of our supporters, generations of gifted students from around the world have been guided and inspired at the RCM. We would like to thank in particular those who have made donations of £1,000 or more in the last 12 months. Gifts are listed in alphabetically in order of surname.

Supporters of named scholarships, bursaries and Junior Fellowships The Abinger Hammer Award ABRSM The Ackroyd Trust The Jane Barker Scholarship Laurie Barry and the John Barry Scholarship for Film Composition Dr Linda Beeley Phoebe Benham Junior Fellowship Bell Percussion The Big Give Trust The Bliss Trust Bocconoc Scholarship The Boltini Trust Scholarship The Gary & Eleanor Brass Scholarship The Derek Butler Trust The Richard Carne Charitable Trust Sir Roger and Lady Carr Soirée d’Or Scholarship Stephen Catto Memorial Scholarship The Estate of Miss Iris Chappell Edgar Tom and Hilda May Cook Else and Leonard Cross Charitable Trust The Cuthbert Smith Award Douglas and Kyra Downie Ann Driver Trust Gilbert and Eileen Edgar Junior Fellowship Amaryllis Fleming Foundation Fiona and Douglas Flint Soirée d’Or Scholarship The Future of Russia Foundation Gylla Godwin Award Peter Granger The Greenbank Scholarship H F Music Award+ H.M.D. Meyer Violin Prize Royal College of Music Pete Handley Award Irene Hanson Scholarship The Estate of Christopher Hogwood Independent Opera Artist Scholarship Charles Jacobs Scholarship The JMC Award The Johnson Scholarship John Lewis Partnership Scholarships + The Kiri Te Kanawa Foundation UK Knights of the Round Table Kirby Laing Foundation Lark Insurance Scholarship Hester Laverne Award The Lee Abbey Award Leverhulme Trust Carole and Geoffrey Lindey Philip Loubser Foundation Loveday Scholarship Lord and Lady Lurgan Trust Mason Scholarship Mr James McAlinden Legacy The Mills Williams Foundation

The Howard and Abbey Milstein Foundation Music Talks Scholarship Charles Napper Award Lydia Napper Award The John Nickson Scholarship Midori Nishiura Sir Gordon Palmer Scholarship The Charles Peel Charitable Trust The Stanley Picker Scholarship The Polonsky Foundation PRS for Music Foundation The Radcliffe Trust Norman Reintamm The Charles Stewart Richardson Scholarship for Composition The Estate of Edith Mary Richmond Virginia and Simon Robertson Scholarship Victoria Robey Scholarship Emma Rose Memorial Scholarship Humphrey Searle Scholarship Frank Shipway Memorial Scholarship Dasha Shenkman Scholarship The Siow-Furniss Scholarship Soirée d’Or Scholarships South Square Trust Steinway & Sons Opperby Stokowski Collection Trust Ian Stoutzker OBE CBE FRCM Sudborough Foundation Tait Trust Scholarship H R Taylor Trust Ian and Meriel Tegner The Richard Toeman/Weinberger Opera Scholarship The Tsukanov Family Foundation The Wall Trust Sir Peter and Lady Walters Soirée d’Or Scholarship Bob and Sarah Wigley Scholarship Arthur Wilson Trombone Award Professor Lord Winston The Wolfson Foundation Andy Woodburn Memorial Award The Worshipful Company of Drapers The Worshipful Company of Fishmongers The Worshipful Company of Musicians The Wyseliot Charitable Trust Supporters of RCM Sparks Karina and Dhairya Choudhrie Denis and Meredith Coleman Guy Dawson and Sam Horscroft The D'Oyly Carte Charitable Trust J Paul Getty Jr Charitable Trust The Hedley Foundation H F Awards John Lewis Partnership Miss Joanna Kaye The Oldhurst Trust Georg and Emily von Opel Foundation Sykes & Son Universal Music Group Anne Wadsworth OBE Members of the RCM Chairman’s Circle Philip Carne MBE HonRCM and Christine Carne* Karina and Dhairya Choudhrie+* Denis and Meredith Coleman+ Guy Dawson and Sam Horscroft+

Gisela Gledhill* Linda Hill HonRCM and Tony Hill* Terry Hitchcock* James and Clare Kirkman* Victoria Robey OBE* Roland Saam* Lady Sitwell Dasha Shenkman OBE HonRCM* Michael and Ruth West HonRCM* Members of the RCM Director’s Circle Daniel Chapchal Tania Chislett Helen Chung-Halpern and Abel Halpern Miss Joanna Kaye+ Mr James Lancaster and Mrs Margaret Lancaster Dr Mark Levesley and Christina Hoseason* Sir Sydney and Lady Lipworth Vivien McLean Beckwith Sir Peter and Lady Middleton FRCM John Nickson and Simon Rew* Richard and Sue Price Peter and Dimity Spiller The Vernon Ellis Foundation Anne Wadsworth OBE+ Quentin Williams* Members of the RCM Patrons’ Circle Isla Baring OAM* Jane Barker CBE* Halina and John Bennett Lady Bergman Ms Sylvia Bettermann Nathenson Lorna and Christopher Bown Mrs Lorraine Buckland Sir Roger and Lady Carr HonRCM* Sir Anthony Cleaver FRCM and Lady Cleaver Mr Peter and Mrs Tessa Ettedgui Mr Kenneth and Mrs Lillemor Gardener Professor Alice Gast MarieNoelle and Mathias Gislev Sarah Griffin Carol Hagh Greta Hemus John and Sue Heywood Mr William and Mrs AnnaMarie Hill Mr David James Sir David Lees David and Sue Lewis Charles and Dominique Lubar Mr David Mildon Ellen Moloney Judy and Terence Mowschenson Jennifer Neelands Russell Race* Victoria Rock Mrs Marcella Rossi Kerry and Dimity Rubie Mrs Piffa Schroder Barbara Simmonds Betty Sutherland Sir Richard and Lady Sykes Louisa Treger John Ward Jane Wilson Sir Robert and Lady Wilson Dr Yvonne Winkler

Mr Richard Wintour Mr Rhoddy Voremberg Corporate Supporters BAE Systems Campus Living Villages Finsbury Hatch Mansfield Huawei Technologies (UK) Niquesa Fine Jewellery and Hotels Major Supporters Jane Barker CBE* Karen Cook The Robert Fleming Hannay Memorial Charity Heritage Lottery Fund Professor Colin Lawson FRCM The Mirfield Trust Geoffrey Richards HonRCM The Rothschild Foundation Roland Rudd The Peter Sowerby Foundation Georg and Emily von Opel Foundation+ Sir Siegmund Warburg's Voluntary Settlement The Garfield Weston Foundation Bob and Sarah Wigley* Supporters Mr Peter Beckwith Guy Black of Brentwood Mr Michael Boxford Brooks van der Pump English Song Prize Mr Sudhir Choudhrie Sir David Cooksey Mrs Paola Costa Sassi Mr Hugh Davidson The Derek Hill Foundation George Drexler Foundation Ms Lily Harriss Mr Laurence Hopkins Mr Michael Jeans Mr Peter Lofthouse The Hon Richard Lyttelton Edward Mandel/Jacques Samuel Pianos Bursary Mr Marcus McDonald HonRCM Sir Douglas Morpeth FRCM The Edith Murphy Foundation St Marylebone Educational Foundation Mrs Paige Nelson Ofenheim Charitable Trust The John Ogden Foundation Mrs Helen Ogunbiyi Mr Christopher Saul Miss Kathleen Beryl Sleigh Charitable Trust Mr Ian Stoutzker OBE CBE FRCM Ms Simona Tappi Mr William Tilden Mr Rhoddy Voremberg Mr Nigel Woolner Mr John Wright * also support a named award + also support RCM Sparks For more information about supporting the RCM, visit www.rcm.ac.uk/supportus Alternatively, contact Suzie Capps on 020 7591 4321 or development@rcm.ac.uk

STRAVINSKY: MYTHS & RITUALS Join Royal College of Music musicians for three exciting concerts exploring the music of Igor Stravinsky.

Part of the Philharmonia Orchestra’s Stravinsky: Myths & Rituals series supported by Vincent Meyer.

Chamber Concert: Stravinsky for Strings Wednesday 18 May 2016, 7.30pm Britten Theatre Stravinsky Duo concertante for violin and piano Three pieces for string quartet Pastorale for violin and piano Les cinq doigts for piano Septet Suite Italienne from Pulcinella for violin and piano Tickets: £8 Chamber Concert: Stravinsky for Ensemble Thursday 23 June 2016, 7.30pm Amaryllis Fleming Concert Hall Stravinsky Fanfare for a New Theatre for trumpet Three pieces for clarinet Sonata for two pianos Concertino for piano duet Octet for wind instruments Suite from L’histoire du soldat for violin, clarinet and piano Three movements from Petrouchka Pre-concert talk: Join RCM Research Fellow Ingrid Pearson for an introduction to the evening's concert at 6.30pm.

Tickets: £8

RCM at the Royal Festival Hall Sunday 26 June 2016, 7.30pm Royal Festival Hall RCM Symphony Orchestra Diego Masson conductor Samson Tsoy piano Stravinsky Symphony in 3 Movements Capriccio Song of the Nightingale The Firebird Suite (1945 version) The RCM Symphony Orchestra returns to London’s Royal Festival Hall to perform a thrilling all-Stravinsky programme exploring the myths and rituals behind his works.

Expect to be captivated by the orchestral wizardry of the Firebird Suite; charmed by a bird of a different feather in a Song of the Nightingale; impressed by the technical feats of award-winning RCM pianist Samson Tsoy in his virtuosic Capriccio; and entertained by his final cinematic-inspired Symphony. To direct, we’re delighted to welcome French conductor Diego Masson, one of the world’s leading exponents of the music of the 20th and 21st centuries.

Tickets: £5, £10, £15, £20, £25 RCM Box Office 020 7591 4314 www.rcm.ac.uk/events