Southbank Sinfonia | 20th Anniversary Souvenir Programme

SATURDAY 5 NOVEMBER | 7.30PM ST JOHN’S SMITH SQUARE

SIMON OVER: 20 YEARS OF SOUTHBANK SINFONIA Having performed at St John’s Smith Square for at least 30 years, it’s a place I’ve always loved and was the obvious venue to launch Southbank Sinfonia in 2002. Had I been told then that, 20 years later, this glorious hall would be our permanent home, with all the joy and responsibility that brings, I’m not sure I would have believed it.

Back in 2002, we said to the first cohort of players that we had no certainty where this new project was leading, but it would become what they made of it. It’s almost unbelievable to think now how many people have been supported and inspired. Every year, 33 players from around the world bring a new dimension to what we do, fresh ingredients to complement and sustain the offer. There are now 574 alumni.

20 years later, having survived all sorts of challenges, we’re thrilled to present this evening a short programme which represents our musical priorities. Working with great musicians has been part of Southbank Sinfonia’s Fellowship programme since the beginning. Tamás and Andrew were members of the orchestra in 2002, and have gone on to great things, becoming principals with the Royal Philharmonic Orchestra and the Orchestra of the Age of Enlightenment respectively. They return this evening to ‘pass the baton’ of their experience on to the 2022/23 Fellowship. The Vaughan Williams work (also marking VW 150 this year) has three orchestras: one for players early on their musical journey, one for more experienced, and one advanced. We’re joined by players representing our relationship with Cardinal Vaughan School and In Harmony Lambeth to play this piece, demonstrating the work Southbank players do with school students.

We have also commissioned a work from Roxanna Panufnik, demonstrating our enthusiasm for new musical boundaries. The players have been part of the compositional process which is explained further on in this programme.

There are, of course, many more aspects and features of Southbank Sinfonia but we couldn’t squeeze them all into one concert, whilst also making time for a party, so please do join us throughout the year to experience the breadth of the Southbank Sinfonia programme.

It is so good to welcome back old friends. There is a huge number of people to whom we are most grateful, who are helping us proceed boldly into the future. Two people who have made the most significant contribution to Southbank Sinfonia are my fellow Founders, Michael Berman, and Katharine Verney. For 20 years of extraordinary and inspirational devotion to the organisation, I would like to thank them most profoundly, personally, and on behalf of us all, for their generosity, sagacious guidance, and unswerving commitment, which has been so crucial in bringing us to this point.

Having the responsibility and privilege of this magnificent concert hall feels to me rather similar to the moment 20 years ago, when the potential seemed so enormous but was impossible to imagine. Who knows what we can achieve with such an historically rich venue, combined with the dynamic energy of Southbank Sinfonia. We are in the process of rebranding and developing the hall to be fit for 21st Century music making.

Let’s see what the next 20 years holds!

AN ORCHESTRA LIKE NO OTHER: SOUTHBANK SINFONIA FELLOWSHIP Each year, Southbank Sinfonia welcomes 33 of the world’s most promising emerging musicians to form an orchestra.

Empowering these musicians to reach their full potential, Southbank Sinfonia’s Fellowship provides unparalleled opportunities to gain a wealth of orchestral experience, as well as extensive professional development support.

More than just an orchestra, it is a community in which talented players discover their creative strengths, fulfil their goals, and make lasting connections.

PERFORMANCE From symphonies to string quartets, Baroque to new commissions, Southbank Sinfonia musicians perform a vast array of repertoire.

Rotating seats in each section and taking charge of their own chamber music, they become fluent, well-rounded musicians. Each Fellowship sees performances in worldrenowned venues, as well as collaborations with internationally acclaimed artists, providing them with expertise from the professional frontline.

“Being able to call yourself a Southbank Sinfonia player exemplifies belonging, talent, credibility and the future. The Fellowship is a once in a lifetime opportunity to discover and push your boundaries. I wouldn’t be the same without this programme.”

EUGENE LEE 2009 ASSISTANT LEADER, PHILHARMONIA; ASSOCIATE LEADER, SOUTHBANK SINFONIA

“A hugely talented young ensemble whose performances are always theatrical.”

The Independent

“As a member of Southbank Sinfonia, you live the life of a working orchestral musician for a year. I found this invaluable, as when the call comes in to play with a professional orchestra, you don’t feel thrown in at the deep end. You are already doing the job, and you know exactly what to expect.”

INNOVATION Open-minded players who challenge and refresh traditions, our musicians lead orchestral music into the future. In this 20th year, our players will premiere new music, champion female composers, and bring family musical workshops to St John’s Smith Square. Our bite-size Rush Hour Concert Series will also see a wide range of works performed at St John’s Waterloo.

JAMES BURKE 2010 PRINCIPAL CLARINET, ACADEMY OF ST MARTIN IN THE FIELDS; CO-PRINCIPCAL CLARINET, BBC SYMPHONY ORCHESTRA

“The opportunities Southbank Sinfonia offers recent graduates are unrivalled. I loved performing as a chamber and symphony orchestra, alongside choirs, in operas and as a soloist, tackling an amazing variety of music.”

IMOGEN WHITEHEAD 2016 FREELANCE TRUMPETER

INDIVIDUALITY We nurture all Southbank Sinfonia players to become strong communicators for the power and relevance of music. They will introduce our Rush Hour concerts, as well as lead our family musical workshops. Our Artist Development Manager meets regularly with each player to help them define personal objectives, address challenges they want to overcome, and plan their next steps.

“Southbank Sinfonia was one of the most rewarding professional and social experiences I’ve ever had. I learned so much over the year and felt totally prepared for starting out as a freelance musician. Without the experience, I wouldn’t have gained my current position with CBSO.” JESSICA TICKLE 2015 VIOLA, CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

“The orchestra flood the stage with dynamism and versatility.”

Auditorium

LEADERSHIP With their youthful vitality, Southbank Sinfonia players make inspiring role-models to young people embarking on their own musical journey.

Through our Artist Development programme, our musicians nurture and inspire the next generation with a range of learning and participation projects.

SCHOOLS AND PARTNERSHIPS Here at Southbank Sinfonia, we pride ourselves on the diversity of partnerships we have with other organisations. In practice, this means that the orchestra can be performing alongside world-class professionals during the morning and running an outreach workshop for schoolchildren in the afternoon, both of which embody our mission of ‘passing the baton’ and are equally important to the orchestra’s development.

“During my time as a Fellow, I learned invaluable orchestral skills that I don’t think I would’ve been able to pick up elsewhere. I was able to make mistakes and improve upon them in a setting that fostered growth and helped me to improve my musicianship. When my time at Southbank finished, I felt newly courageous, and went straight into my first orchestral trial. Since then, I have continued to freelance in London and throughout the UK. I love my varied orchestral career, which I am able truly to enjoy through the confidence that I learned as a member of Southbank Sinfonia.”

CORINNA BOYLAN 2018 FREELANCE CELLIST

During their time in the Fellowship, the musicians have the chance to play beside members of the orchestra of the Royal Opera House and the Academy of St Martin in the Fields. They then become the experts for side-by-side projects with the pupils of Cardinal Vaughan Memorial School and Tollgate Primary School, and also have the opportunity to mentor students from In Harmony Lambeth – all of which culminate in full performances. As well as these opportunities, the players also learn how to create bespoke sessions for families, refugees, non-English speakers, and more, at Coin Street Family Centre.

Now that we have our own home, the Fellowship are also part of community events at St John’s Smith Square. These include amazing Family Concerts and ‘Musical Zoos’, where children can meet the instruments of the orchestra, perhaps for the very first time! We also run a series of events for older people, called ‘Teatime Treats’, as part of Silver Sunday.

MEET THE 2022/23 PLAYERS

RAINA ARNETT VIOLIN

ILHEM BEN KHALFA VIOLIN

ELEANOR HILL VIOLIN

SOPHIE HINSON VIOLIN

ALEXANDER CASSON VIOLIN

VICTORIA FARRELL-REED VIOLIN

ALEKSANDRA LIPKE VIOLA

CHARLES WHITTAKER VIOLA

SAVANNAH BROWN VIOLIN

JOSÉ MATIAS VIOLIN

PETER FENECH VIOLA

REBECCA BRADLEY CELLO

IRYNA GLYEBOVA VIOLIN

XINYUE WANG VIOLIN

CAMERON HOWE VIOLA

ABIGAIL LORIMIER CELLO

ALEXANDRE DOS SANTOS DOUBLE BASS

OLAYA GARCÍA ÁLVAREZ DOUBLE BASS

SOFIA CASTILLO FLUTE

ELEANOR BLAMIRES FLUTE

IZY CHEESMAN OBOE

JULES BAETEN CLARINET

LUCIA PORCEDDA CLARINET

RUIHAN KEE BASSOON

REYAN MURTADHA CELLO

MILLIE LIHOREAU HORN

JAKE PARKER HORN

JOSEPH SKYPALA TRUMPET

AARON TOWNSEND PERCUSSION

LUIZ DE CAMPOS OBOE

HOLLY REDSHAW BASSOON

EDWARD SYKES TRUMPET

“It is no exaggeration to say that every Southbank Sinfonia event is a ‘stand-out’ for me. It’s impressive how the ethos of ‘enjoying the music’ has held up in increasingly diverse forms.

Particularly memorable are the small ensemble performances during the Anghiari festival and the up-take of highly original responses to the challenges of lockdown. Happy anniversary!’

Carys Jones, Southbank Sinfonia Supporter

MEET THE TEAM

LYDIA BROOKES HEAD OF OPERATIONS, DEPUTY DIRECTOR

MARINA ABEL SMITH HEAD OF DEVELOPMENT AND COMMUNICATIONS

FIONA GIBBS ARTIST DEVELOPMENT MANAGER

JANE AINGER TRUSTS AND FOUNDATIONS MANAGER

PERCY LEUNG RESEARCH AND SUPPORT ADMINISTRATOR

HANNAH WISHER COMMUNICATIONS MANAGER

SOPHIE OLIVER COMMUNICATIONS OFFICER

CHRIS HARTWELL BUILDING AND FACILITIES MANAGER

NATASHA WILLIAMS FRONT OF HOUSE MANAGER

SUELI PINHEIRO CATERING MANAGER

ANA PAULA DA SILVA TRANCOSO CATERING SUPERVISOR

GEORGE ANDREWS DUTY MANAGER

GEORGIA DIMOPOULOU FINANCE MANAGER

BETHAN HUMPHREY FINANCE OFFICER

JO DUGGAN BOX OFFICE MANAGER

LAUREN ATKINSON BOX OFFICE MANAGER

TIMEA GAZDAG DUTY MANAGER

MOLLY JOYNSON WELCOME DESK AND SALES ASSISTANT

TED MITCHELL WELCOME DESK AND SALES ASSISTANT

GUILLERMO RAMASASA Jr. WELCOME DESK AND SALES ASSISTANT

TILLY MAIR WELCOME DESK AND SALES ASSISTANT

ROSIE FRASER INTERIM CEO

SIMON OVER MUSIC DIRECTOR

ALISON BRAND SENIOR PRODUCER

JACK FEARN ORCHESTRA AND PROJECTS MANAGER

DANIELLE ROBSON DEVELOPMENT MANAGER

ROBERT GRISBROOK CAMPAIGNS MANAGER

BARBARA WOŁCZEK OPERATIONS COORDINATOR

JAN BONAR HEAD OF FINANCE

HELEN PHIPPS ORCHESTRA AND PROJECTS ASSISTANT

SOUTHBANK SINFONIA PERFORMS ‘SIR JOHN IN LOVE’ ALONGSIDE BRITISH YOUTH OPERA AT OPERA HOLLAND PARK (2022)

20 YEARS OF OUTSTANDING TALENT

SOUTHBANK SINFONIA PERFORMS AT THE ROYAL ALBERT HALL WITH ABC (2022) SOUTHBANK SINFONIA PERFORMS ALONGSIDE BBC CONCERT ORCHESTRA (2014)

SOUTHBANK SINFONIA REHEARSING AT ST JOHN’S SMITH SQUARE FOR THE FIRST TIME POST-MERGER (2021)

MARIN ALSOP CONDUCTS SOUTHBANK SINFONIA AT ROYAL FESTIVAL HALL (2011)

SOUTHBANK SINFONIA OPEN REHEARSAL, ROYAL OPERA HOUSE (2020)

VLADIMIR ASHKENAZY CONDUCTS SOUTHBANK SINFONIA (2018)

OLIVER KNUSSEN CONDUCTS SOUTHBANK SINFONIA (2011)

EDWARD GARDNER CONDUCTS SOUTHBANK SINFONIA (2011)

SOUTHBANK SINFONIA SOUTHBANK SINFONIA FLUX - #CONCERTLAB, ROUND CHAPEL, PERFORMS AT WESTMINSTER ABBEY HACKNEY (2019) (2006)

SOUTHBANK SINFONIA PERFORMS AT OPERA HOLLAND PARK (2022)

NICOLA BENEDETTI PERFORMS WITH SOUTHBANK SINFONIA AT iTUNES FESTIVAL (2014)

SOUTHBANK SINFONIA ROUND CHAPEL SESSIONS (2020)

SOUTHBANK SINFONIA FAMILY CONCERT (2018)

SOUTHBANK SINFONIA 10TH ANNIVERSARY CONCERT REHEARSAL (2012)

SOUTHBANK SINFONIA COLLABORATE WITH NATIONAL THEATRE’S PRODUCTION OF AMADEUS ©MARC BRENNER (2018)

“It has been a great privilege and delight to play, record and work with Southbank Sinfonia and Simon on many projects! Wishing you all well for the next 20 years.”

Raphael Wallfisch

SOUTHBANK SINFONIA PERFORMS WITH CELLIST, RAPHAEL WALLFISCH, AND CONDUCTOR, VLADIMIR ASHKENAZY (2011)

SOUTHBANK SINFONIA PERFORMS BACH’S ST MATTHEW PASSION WITH NATIONAL THEATRE (2011)

SOUTHBANK SINFONIA: NEW FELLOWSHIP YEAR CONCERT AT ST JOHN’S SMITH SQUARE (2022)

Smith Square Partners is delighted to support Southbank Sinfonia at St John’s Smith Square and their commitment to

smithsquarepartners.com Smith Square Partners LLP, Byron House, 7-9 St James’s Street, London SW1A 1EE, is an independent corporate finance advisory firm authorised and regulated by The Financial Conduct Authority.

SOUTHBANK SINFONIA THE EPITOME OF A VIRTUOUS CIRCLE

BY DR PERCY LEUNG Hong Kong. September 2015. It was a stuffy and humid evening in my hometown. I was taking a stroll along the Central Harbourfront, enjoying the Kowloon skyline and brainstorming for my new research. Suddenly, a dreadful thunderstorm approached and I found myself running for cover. In a couple of minutes, I arrived in the City Hall. Sensing the weather would not improve for some time, I bought a ticket to a concert that was about to start and just sat at the back, drenched and annoyed.

The next two hours, however, were a revelation. By the second half, I had already moved to the front row, eyes glued to the stage, mesmerised. Never had I seen a group of musicians perform with so much rigour, maturity, intensity, fearlessness, and dedication. They could not have been more different than the weather outside – sunny, radiant, energetic, full of hope – and illuminated the hall with breathtaking lyricism, impeccable techniques and youthful exuberance.

I left that concert with tears in my eyes, not only of joy, but also relief that the future of classical music was safe.

The performers that night were Southbank Sinfonia, making their first concert appearance outside Europe, conducted by Simon Over.

SOUTHBANK SINFONIA PERFORMS IN HONG KONG (2015)

Fast forward three years. Berlin. August 2018. I was working on my doctoral research in the German capital when I was, surprisingly, invited by the acclaimed writer and academic, Dr. Kate Kennedy, to serve as her research assistant on a BBC Radio 3 production. I met with Kate near Checkpoint Charlie and she introduced me to her newborn son Isaac and, as fate would have it, Simon Over, her husband.

It turned out that Southbank Sinfonia would be giving a concert in the world-famous Konzerthaus that evening, as part of the Young Euro Classic Festival. Excited and overjoyed, I went along to the performance and it was a true pleasure to be reminded of the zest, passion, determination and, above all, togetherness that characterised this ensemble and its musicians. What surprised me the most, however, was that Southbank Sinfonia elicited a standing ovation from the demanding Berliners, and how my German companions, ever proud of their national musical tradition, lamented ‘Why don’t we have something like this in Germany?’

SOUTHBANK SINFONIA (2002)

DR PERCY LEUNG

My academic collaboration with Kate continues to this day. A few months ago, when we were having a breakfast meeting in a café in Oxford, she told me about one of Simon’s favourite phrases: Sending the elevator back down.

This is the idea of successful individuals supporting the next generation by inspiring them, introducing them to different contacts and offering them various opportunities.

And when the next generation grows up, they will also be motivated to help younger people on their way up.

It would be an understatement to say that Simon’s vision, and that of his fellow Southbank Sinfonia Founders, Michael Berman and Katharine Verney, has succeeded.

Over the past twenty years, 115 conductors, 187 soloists and 121 singers – musicians such as Sir Antonio Pappano, Edward Gardner, Marin Alsop, Vladimir Ashkenazy, Raphael Wallfisch, Steven Isserlis, Sir Thomas Allen and Dame Emma Kirkby – have travelled on the elevator to support musicians of Southbank Sinfonia. Together, they have given a total of 1,039 concerts (including this evening’s) and tackled 1,192 works written by 293 composers, performing in 138 monumental venues, including the Westminster Hall, the Royal Albert Hall, and Notre-Dame de Paris.

At the same time, though, Southbank Sinfonia’s yearly intake also send the elevator back down themselves by nurturing children and teenagers through a multitude of outreach work. As musical role-models and ambassadors, members of the orchestra share their experiences and play side-by-side with their younger counterparts. Not only does this encourage and motivate budding musicians, it also helps to inspire the next generation to possess the passion and energy for making music.

Long may this virtuous circle continue.

Earlier this year, I took Isaac Over pedal boating in Oxford.

While we were taking a break somewhere along the River Cherwell, I asked him if he knew what his parents did for a living. He smiled at me and, between mouthfuls of Percy Pig sweets, said “They created an orchestra and they help people.”

And that is what we are celebrating this evening!

Congratulations and Happy Birthday, Southbank Sinfonia!

Percy Leung is a British cultural historian whose research focuses on the interrelations between music and politics, the role music plays in cultural diplomacy and the musical policies in twentiethcentury authoritarian regimes. He studied at Cambridge, St Andrews, Durham and Oxford Universities, and completed his PhD - entitled ‘The London Symphony Orchestra and the Berlin Philharmonic Orchestra in the First World War: Musical Institutions, Cultural Identity and National Conflict in Britain and Imperial Germany’ - in 2021.

Originally from Hong Kong, Percy currently teaches at the Universities of Cambridge and Oxford as well as Queen Mary, University of London, and he has also recently started working as Research and Support Administrator for Southbank Sinfonia at St John’s Smith Square.

Orchestral, choral and chamber music resounds from every piazza, church and cloister during the Anghiari Festival, one of the major cultural attractions in the Val Tiberina, Italy.

For the past twenty years, Southbank Sinfonia has been invited to Anghiari for a week in July, bringing a huge variety of symphonic, chamber and operatic music together with special guest artists.

Organised by the Pro Loco and the Comune of Anghiari, most days involve a chamber concert in the afternoon and a larger-scale evening concert, either in Anghiari’s historic centre or neighbouring towns. Many events are free and the Festival is renowned for its friendly informality, with ample opportunity to meet and talk to the musicians.

The Festival was founded by Simon Over, Kate Kennedy, and the Anghiari community, who are proud of their heritage and warmly welcome visitors to enjoy the town’s many charms and historic architecture. The imposing thirteenth-century walls that tower above the Tiber valley made the town an invincible fortress that kept the Tuscan flag flying during significant historical events, including the famous Battle of Anghiari in June 1440.

Today, there are museums which celebrate the town’s history; several notable churches and piazzas, all with great acoustics; and a selection of local shops, bars, and restaurants to enjoy – all complemented by wonderful views. It’s a stunning backdrop for one of Europe’s most exciting classical music festivals.

We would love to see you at the 2023 Anghiari Festival: Saturday 15 - Saturday 22 July Full details can be found on our website: www.southbanksinfonia.co.uk/anghiari-festival/

SOUTHBANK SINFONIA 20TH BIRTHDAY PARTY SATURDAY 5 NOVEMBER, 7.30pm | ST JOHN’S SMITH SQUARE LUDWIG VAN BEETHOVEN Egmont Overture, Op.84 RALPH VAUGHAN WILLIAMS Concerto Grosso I. Intrada. Largo II. Burlesca Ostinata. Allegro moderato III. Sarabande. Lento IV. Scherzo. Allegro (tempo di valse) V. March and Reprise. Alla marcia Southbank Sinfonia will be joined by student musicians from Cardinal Vaughan Memorial School and In Harmony Lambeth.

ROXANNA PANUFNIK TWENTY (A Southbank Sinfonia 20th Anniversary Commission)

JOHANNES BRAHMS Double Concerto in A minor, Op.102 I. Allegro II. Andante III. Vivace non troppo Tamás András violin Andrew Skidmore cello Simon Over conductor

Join us for drinks and birthday cake after the concert.

Bottled water and drinks purchased in our Footstool Café-bar are permitted in the auditorium – please ask at the bar when ordering for a reusable cup.

In accordance with the requirements of Westminster City Council, persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s Smith Square. Smoking is not permitted anywhere in St John’s.

Please ensure that all digital devices are switched off.

THIS EVENING’S MUSICIANS Violin I Martyn Jackson* Raina Arnett Xinyue Wang Iryna Glyebova Victoria Farrell-Reed Lorenzo Narici** Violin II Sophie Hinson Eleanor Hill José Matias Savannah Brown Alex Casson Viola Charles Whittaker Peter Fenech Cameron Howe Aleksandra Lipke

Cello Rebecca Bradley Reyan Murtadha Abigail Lorimier Ricardo Tauber**

Bassoon Holly Redshaw Ruihan Kee

Bass Alexandre dos Santos Olaya García Álvarez

Horn Millie Lihoreau Jake Parker Sarah Johnson** Máté Tőzsér**

Flute Eleanor Blamires Sofia Castillo

Trumpet Ed Sykes Joseph Skypala

Oboe Izy Cheesman Luiz De Campos

Percussion/ Timpani Aaron Townsend

Clarinet Lucia Porcedda Anthony Friend**

* Guest Leader ** Southbank Sinfonia Alumni

Southbank Sinfonia will be joined by student musicians from Cardinal Vaughan Memorial School and In Harmony Lambeth.

LUDWIG VAN BEETHOVEN EGMONT OVERTURE (1810) In less than 10 minutes, Beethoven tells a story of domination, tragedy, heroism and hope in the overture to the play Egmont.

Transporting you back to an era of oppressive Spanish rule in the Netherlands, heavy and daunting opening chords leave no uncertainty as to the severity of the situation for the Flemish resistance. The year is 1568 and their leader, Count Egmont, has been imprisoned and condemned to death by the despotic Duke of Alba.

But all is not lost. The overture charts the story of Egmont’s determination and rebellious spirit inspiring an uprising of the Netherlanders, with even the grim fate of the hero - the silence of an unexpected pause in the music expressing death - not dampening a resurgent spirit that lives on. It is a tale of martyrdom from the hero in the cause of liberty.

Beethoven was eager to write the music to accompany a new production of Egmont, in part because it provided the opportunity to work with his literary hero, Goethe. Although the two artists’ personalities clashed when they met in person, Beethoven said of Goethe’s poems: “I am tuned up and stimulated to composition by this language, which builds itself into higher orders as if through the work of spirits, and already bears in itself the mysteries of harmonies.”

But Beethoven also had a more poignant connection to the story of Egmont: he was composing in Vienna in 1810, a city that had been bombarded and occupied by Napoleonic forces the previous year. Deciding to stay behind rather than flee, as much of the city’s elite had, Beethoven found himself culturally secluded. Rather than the Duke of Alba, perhaps the real villain in this music was the Emperor of France? © Matt Belcher

“Music is the electrical soil in which the spirit lives, thinks, and invents.”

Ludwig Van Beethoven

LUDWIG VAN BEETHOVEN

Born 1770 Bonn, Germany

Died 1827 Vienna, Austria

Displaying his musical talents from an early age, Beethoven was initially taught by both his father and Christian Gottlob Neefe. He moved to Vienna in 1792, intending to study with Mozart and Haydn, and whilst there quickly garnered a reputation as a virtuoso pianist. His hearing began to deteriorate as early as 1800 and for the last ten years of his life was almost completely deaf. He abandoned his conducting and playing careers but continued to compose, writing many of his most admired works during this period. The most famous parts of his output include nine symphonies, five concertos for piano, 32 piano sonatas and 16 string quartets, whilst his oeuvre also includes myriad other chamber and choral works, an opera and many songs.

He passed away in 1827 at the age of 56. Allegedly, a friend who was present at the time of death said that there was a peal of thunder at the moment he died.

RALPH VAUGHAN WILLIAMS CONCERTO GROSSO (1950) Whilst Gustav Holst and Benjamin Britten are the British composers most commonly associated with educational compositions, Vaughan Williams always responded with enthusiasm at the request to write for students. He passionately believed that everyone of all abilities should take part in music making.

In 1950, the Rural Music Schools Association commissioned a work from Vaughan Williams to celebrate its twenty-first anniversary. The resulting composition, Concerto Grosso, would involve three string orchestras, showcasing players at differing stages of their musical journey. The first group, known as the concertino, is played by Southbank Sinfonia this evening, with the second group, the tutti, performed by musicians from Cardinal Vaughan Memorial School. The third group, the ad libitum, will be performed by the future talents from In Harmony Lambeth.

The concerto grosso, Italian for ‘big concerto’, is a form of baroque music in which musical material is passed between a small group of soloists and the ensemble. Vaughan Williams’ Concerto Grosso is structured in five movements. With its dramatic theme and dense string writing, the first movement, Intrada, is an archetypal Baroque opera entrance, providing a contrast to the following Burlesca Ostinato, a sprightly movement propelled by repeated rhythmic ostinati. The third movement, Sarabande, features passionate string lines, and the use of triple time alongside triplet rhythms gives the movement a gentle dance feel. A lively Scherzo follows, with frequent use of pizzicati and staccato articulation creating a playful, buoyant energy. Concluding the Concerto Grosso, the final movement, March and Reprise, begins with a spirited march, with frequent use of syncopation. Having taken the listener on a journey through different dance rhythms and moods, the music comes full circle, and the March leads seamlessly into a restatement of the first movement (Reprise).

Featuring over 400 performers under the baton of Sir Adrian Boult, the premiere of Concerto Grosso at the Royal Albert Hall in 1950 was a resounding success. Although the purpose of this work was educational, this is an esteemed and much-loved piece.

© Dr Percy Leung and Sophie Oliver

“Music is the reaching out towards the utmost realities by means of ordered sound.”

Ralph Vaughan Williams

RALPH VAUGHAN WILLIAMS

Born 1872 Died 1958 Gloucestershire, England Westminster, England

Ralph Vaughan Williams was one of the most influential English composers of the 20th century. With English folk song, the countryside, and Tudor polyphony influencing his compositions, Vaughan Williams’ musical output marked a shift in British music from its Germanic style of the 19th century. Vaughan Williams was a leading figure in the English Musical Renaissance, where composers began writing in a distinctly national idiom, freeing themselves from foreign musical influences.

Having composed works for ballets, operas, orchestras, choirs and more, Vaughan Williams died peacefully in 1958, and his ashes were placed by the grave of Henry Purcell in Westminster Abbey.

ROXANNA PANUFNIK TWENTY (2022) When Simon Over asked me if I would write Southbank Sinfonia a 20th anniversary overture, he also requested that I collaborate with the orchestral members in the creation of the piece. I sent them all a questionnaire with the following questions: What does the number 20 mean to you? What are your favourite effects/ techniques/figurations to play? What do you wish you could be doing more of within the orchestra?

I have included as many of their requests as possible, which you’ll see in bold, in the description of the piece below. The woodwind all requested that they play on their doubling instruments so they are scored as flute, piccolo, oboe, cor anglais, clarinet, bass clarinet, bassoon and contra-bassoon.

“Magnificent music...Panufnik’s art is something special, putting her among the elite composers in the world today.”

Audiophile Audition

ROXANNA PANUFNIK

TWENTY is based on a progression of 20 harmonies, which we hear initially in a chorale-like fashion with quintuplet flourishes throughout the orchestra. The time signature is always in divisibles of 20 – multiples of 5, 4 and 10. The percussion starts with a complex rhythm that pits 5 against 4.

In the first section A. With anticipation of joys to come, harmonies 1 – 5 become an excited ostinato (including some nifty doublestopping in the horns), accompanying various instruments as they play their carefree, light, cheerful melodies. A request for 6/8 + 2/4 (neatly becoming 10/8 and an opportunity to combine 6/8 against 3/4) gives us a driving rhythm, played with spread pizzicato and open string arpeggios in the strings. Soloistic playing in the double basses start the melodic ball rolling.

Then the bassoons carry on the melody with glissandi and rising scales in 3rds. The ‘cellos take over, fulfilling their wish to duet with other orchestral instruments in a different pitch zone, including the flute and piccolo. The double basses further accentuate the 10/8 rhythm with Bartók pizzicatos.

Interestingly, the wind and upper players unanimously requested some ethereal effects so the next section B. Mysterioso, makes use of fluttering and pitch-bends in the winds, harmonics in the upper strings and bisbigliando trills on the bassoons.

The woodwinds pass the melodies between themselves as harmonies 6 – 15 gracefully propel us towards section C. Locomotively. In the players’ thoughts about the number 20, their sense of excitement at having all the freedoms of adulthood with no responsibilities and the anticipation at the decade to come was pretty much universal. So, we start this last section slowly and at the bottom end of the orchestra with harmonies’ 16 – 20’s bass line. At first trepidatious, more instruments join in becoming faster and faster as the train of adulthood gathers in pace, finishing in a pyrotechnic display of all 20 harmonies.

I am hugely grateful to Simon Over for commissioning this piece – and to the players of Southbank Sinfonia who were inspirational with their requests and generous with their time in trying things out. © Roxanna Panufnik

Roxanna Panufnik b.1968 FRAM, ARAM, GRSM(hons), LRAM, studied composition at the Royal Academy of Music and, since then, has written a wide range of pieces – opera, ballet, music theatre, choral works, orchestral and chamber compositions, and music for film and television – which are performed all over the world.

JOHANNES BRAHMS DOUBLE CONCERTO IN A MINOR, Op.102 (1887) The powerful link between music and friendship has been fundamental to the lives of many composers, and for Brahms it was friendship with the violinist, Joseph Joachim, that inspired and developed many of his great compositions. From their first meeting in 1853, the two leant on each other in the development of works and collaborated extensively. Joachim premiered much of Brahms’ chamber work and gave extensive technical advice on writing for the violin, including writing cadenzas for the Violin Concerto (1878) that remain a much-loved part of performances today.

But in 1883, the friendship ended. Having sided with Joachim’s wife during their acrimonious divorce, Brahms found himself without his muse. The Double Concerto, composed four years later, was thus a gesture of reconciliation towards an old friend and one that brought Brahms and Joachim back in touch.

Joachim’s presence is woven into the very fabric of the concerto, with the musical motif A-E-F a central feature. His personal motto was ‘Frei aber einsam’ (free but lonely), and this permutation of F-A-E is a lasting record of the concerto’s bridgebuilding intentions.

But instead of writing solely for violin, Brahms did something without precedent by creating a concerto for violin and cello together. A lack of in-depth familiarity with the cello made the writing process particularly challenging, and letters to Clara Schumann suggest difficulty in balancing its sound with the violin, but the work evolved a masterful dialogue between the soloists. Phrases are traded, ideas elaborated, and gestures juggled with the orchestra.

The cello plays a dominant role in setting the conversation of the heated first movement, but the soloists nestle serenely with a beautiful shared melody in the second. The final movement is inspired by folk music from the plains east of Budapest, creating a feel quite different to the rest of the piece.

The Double Concerto proved to be Brahms’ final work for orchestra, but it remains a lasting tribute to the power of music as a unifying force. © Matt Belcher

“I’ve had the amusing idea of writing a concerto for violin and cello...if it is at all successful, it might give us some fun.”

Johannes Brahms, 1887

JOHANNES BRAHMS

Born 1833 Hamburg, Germany

Died 1897 Vienna, Austria

A German composer and pianist, Johannes Brahms is considered one of the leading composers of the Romantic period. Brahms started learning the piano aged 8, and by 14, he had made his first concert debut, conducting a male voice choir. Brahms was close friends with Robert and Clara Schumann, the former describing him as the true heir of Beethoven. Having written over 200 pieces of music, Brahms died of cancer in 1897. On the day of his funeral, all the ships in Hamburg lowered their flags to half-mast.

TAMÁS ANDRÁS VIOLIN After completing his studies at the Royal Academy of Music, Tamás auditioned for Southbank Sinfonia in 2002, and was delighted to accept the leader position.

Southbank Sinfonia gave Tamás the opportunity to explore the orchestral repertoire, and provide excellent training in ensemble playing and leader skills which were instrumental in succeeding in the music profession. It also provided him opportunities to play chamber music and concertos with the orchestra. Tamás says: “Leading Southbank Sinfonia was a fantastic experience and I am very grateful that I could be part of it.”

He is currently the Assistant Leader of the Royal Philharmonic Orchestra and the Leader of the Oxford Philharmonic Orchestra.

ANDREW SKIDMORE CELLO Andrew enjoys a varied career performing on both period and modern instruments. He has been cellist of the Salomon String Quartet since 2010, before which he spent three years as cellist of the Fitzwilliam String Quartet.

Andrew’s interest in historical performance spans from the 17th to 20th centuries. He is a member and regular guest principal of the Orchestra of the Age of Enlightenment, principal with Collegium Musicum 90 and Ex Cathedra and plays regularly as a guest principal, continuo cellist and in chamber music with groups including the Dunedin Consort, Arcangelo, Gabrieli Consort and Players, Early Opera Company, The Academy of Ancient Music, Music for Awhile, Irish Baroque Orchestra, The Sixteen, Ensemble Marsyas, Taverner Consort and Players and Classical Opera Company.

On the modern cello he performs regularly as a guest with the Chamber Orchestra of Europe, as a member of Sir András Schiff’s Cappella Andrea Barca and has been invited as a guest principal with the Scottish Chamber Orchestra, Royal Northern Sinfonia and Haydn Philharmonie, Eisenstadt.

Andrew studied at New College, Oxford and the Royal Academy of Music, London. He now teaches at the Royal Academy of Music and has taught and given classes at the University of Cambridge.

MARTYN JACKSON GUEST LEADER British violinist Martyn Jackson has been acclaimed as “a player of great intensity .... a remarkably accomplished young violinist” by The Strad.

Martyn’s past concert schedule has included solo and chamber music performances at Wigmore Hall, Bridgewater Hall, Musikverein, Berlin Konzerthaus, Queen Elisabeth Hall, Gasteig Philharmonie, Purcell Room and King’s Place. As a soloist, he has appeared with the Hallé, Berliner Symphoniker, Northern Chamber Orchestra, Melos Sinfonia, Southbank Sinfonia, and Berliner Capella.

He has performed chamber music with principal players from the Berlin Philharmonic Orchestra.

In 2008, Martyn featured alongside internationally renowned violinist and conductor, Shlomo Mintz, in the Holocaust documentary film, Amnon’s Journey. He has also broadcast live on BBC Radio 3, Bayerischer Rundfunk, Suisse Romande Television et Radio, Suddeutsches Radio and on BBC 4 television.

SIMON OVER CONDUCTOR Simon Over studied at the Amsterdam Conservatoire, the Royal Academy of Music and Oxford University.

From 1992 to 2002, Simon was a member of the music staff of Westminster Abbey, and Director of Music at both St Margaret’s Church and the Chapel of St Mary Undercroft in the Palace of Westminster.

Since 2015, he has been Music Director at St Clement Danes, the central church of the Royal Air Force. He is the Founder-Conductor of the UK Parliament Choir, Music Director of Bury Court Opera, and Conductor of The Malcolm Sargent Festival Choir. He was also appointed Principal Guest Conductor of the Southern Sinfonia, New Zealand, in 2013.

Simon is Music Director and Principal Conductor of Southbank Sinfonia. He founded the orchestra in 2002 and has conducted many of its concerts throughout the UK, in Europe, and in Asia. He has conducted Southbank Sinfonia in recordings with cellist, Raphael Wallfisch, tenor Andrew Kennedy, pianist Alessio Bax, soprano Ilona Domnich and tenor Leo Nucci. In 2009-10 he conducted the orchestra in 71 performances of Every Good Boy Deserves Favour (Tom Stoppard/André Previn) at the National Theatre.

Simon has worked both as conductor and accompanist with many internationallyacclaimed artists, including Sir Thomas Allen, Sir James and Lady Galway, Dame Emma Kirkby, Dame Felicity Lott, Sir Willard White, Emma Johnson, Simon Keenlyside, Malcolm Martineau, and Amanda Roocroft. As a pianist, his performances with American violinist, Miriam Kramer, at the Wigmore Hall and Lincoln Center, New York – as well as on several recordings – have received high critical acclaim.

ROXANNA PANUFNIK COMPOSER Roxanna has a great love of world music – this has culminated in her Four World Seasons for violinist Tasmin Little, the world premiere of which was selected by BBC Radio 3 to launch their Music Nations weekend, celebrating the London Olympics; her multifaith Warner Classics CD Love Abide (www.loveabide.com) and Dance of Life: Tallinn Mass for Tallinn Philharmonic (www.tallinnmass.com), commissioned to celebrate Tallinn’s reign as European Capital of Culture.

Roxanna’s 50th Birthday year, 2018, saw some exciting commissions and premieres for the BBC Last Night of the Proms and a co-commissioned oratorio Faithful Journey – a Mass for Poland, for City of Birmingham Symphony Orchestra and National Radio Symphony Orchestra of Poland, marking Poland’s centenary as an independent state. In 2019, she had a new commission for two conductors and two choirs, premiered by Marin Alsop and Valentina Peleggi with the Baltimore Symphony Orchestra.

She is especially interested in building musical bridges between faiths, and her first project in this field was the violin concerto, Abraham, commissioned for Daniel Hope, incorporating Christian, Islamic and Jewish chant to create a musical analogy for the fact that these three faiths believe in the same one God. This work was subsequently converted into an overture for the World Orchestra for Peace and premiered in Jerusalem and London under the baton of Valery Gergiev, in 2008 and at the 2014 BBC Proms.

Recent and upcoming premieres include Songs of Love and Friendship for the Netherlands Radio Choir with violinist Daniel Rowland at Amsterdam’s Concertgebouw in July 2021 and Ever Us for the Rundfunk Chor Berlin, plus nine other choirs from all over the world, to be premiered at the Berlin Philharmonie in 2024/5.

Both her 2017 opera Silver Birch and 2022 opera Dalia, commissioned by Garsington Opera, were met with great audience and critical acclaim.

She has recently been awarded, by the Polish Deputy Prime Minister, the Bronze Medal for Merit to Culture Gloria Artis for her contribution to popularising Polish culture through her music.

An ardent fan and passionate partaker of the UK’s unique liturgical choral scene, Roxanna has been raising funds through her epic Diamond Cycles for the Diamond Fund for Choristers, for whom she is a patron.

Roxanna’s compositions are published by Peter’s Edition Ltd., and recorded on many labels including Warner Classics, Signum, Chandos, and EMI Classics.

Panufnik’s score, with annotations of Southbank Sinfonia’s requests

A WELCOME FROM OUR PRINCIPAL PARTNER, EFG We are delighted to celebrate the 20th anniversary of Southbank Sinfonia and on behalf of EFG, I would like to extend a warm welcome to everyone gathered here this evening.

Our long-standing partnership with Southbank Sinfonia goes back over a decade and during those years, the relationship has gone from strength to strength. All of EFG’s strategic partnerships have talent development as a core value, and for the last 20 years Southbank Sinfonia has taken a wonderful cohort of young, aspiring musicians and given them a launch pad that enables them to go on and thrive in their professional careers.

This year, we followed the auditions process closely and the standard of applicants was impressively high. The talent, commitment and passion each Fellowship shows never fails to inspire and as they embark on the next exciting phase of their journey, we look forward to seeing how they develop their skills and what the future holds.

Southbank Sinfonia’s 20th anniversary concert diary includes some very special events. One of the highlights for us is a unique collaboration with composer Guy Barker, jazz guitarist Eugene Pao and clarinettist Giacomo Smith, which forms part of the EFG London Jazz Festival’s 30th birthday celebrations on Thursday, 17 November at Cadogan Hall.

We wish Southbank Sinfonia the very best of luck for their 20th anniversary season and hope you enjoy tonight’s performance.

Richard AA Thomas MBE CEO, EFG Private Bank Limited

© Southbank Sinfonia

At EFG, we believe in nurturing young talent, to help them realise their full potential.

This is why we partner with the Southbank Sinfonia today, to support the most gifted artists of tomorrow.

efginternational.com EFG International’s global private banking network operates in around 40 locations worldwide, including Zurich, Geneva, Lugano, Lisbon, London, Monaco, Luxembourg, Dubai, Hong Kong, Singapore, Sydney, Miami. In the United Kingdom, EFG Private Bank Limited’s principal place of business and registered office is located at Park House, 116 Park Street, London, W1K 6AP, T +44 20 7491 9111.

EFG Private Bank Limited is authorised by the Prudential Regulation Authority and regulated by the Financial Conduct Authority and the Prudential Regulation Authority. EFG Private Bank Limited is a member of the London Stock Exchange. Registered in England and Wales as no. 2321802. EFG Private Bank Ltd is a subsidiary of EFG International.

OUR ALUMNI: WHERE ARE THEY NOW? Southbank Sinfonia provides a much-needed springboard for emerging talents into the music profession. Players who have completed the Fellowship now have successful music careers worldwide. Here are some examples of our global reach below.

MATT FEATHERSTONE FLUTE Principal Flute, BBC National Orchestra of Wales

JULIA HANTSCHEL OBOE Principal Oboe, Iceland Symphony Orchestra

THOMAS JACKSON VIOLIN Violin, Ulster Orchestra, Northern Ireland

RACHEL ROWNTREE VIOLIN Violin, Les Siècles, France

GAIL HERNÁNDEZ ROSA VIOLIN Freelance violinist and violist, specialising in Historical Performance.

San Francisco, USA

VIVIANA SALCEDO AGUDELO OBOE Assistant Principal Oboe and Cor Anglais, Colombian National Symphony Orchestra.

Oboe professor, Universidad Central and Pontificia Universidad Javeriana, Colombia

FIONA TROON BASSOON Contrabassoon, Orquesta Filarmonica de Santiago, Chile

SUSANNE SIMMA BASSOON Published a book on mental training for musicians.

Germany

OVANIR BUOSI CLARINET Principal Clarinet, São Paulo State Symphony Orchestra, Brazil SAM SHERWOOD CELLO Co-Principal Cello, Orquesta Filarmonica de Santiago, Chile

JESSICA TICKLE VIOLA Viola, City of Birmingham Symphony Orchestra

EDDY HACKETT PERCUSSION Guest Principal, London Philharmonic Orchestra, Britten Sinfonia, City of Birmingham Symphony Orchestra

LEONARDO SESENNA CELLO Associate Professor, University of Agder, Norway

BEN GRIFFITHS DOUBLE BASS Principal Bass, Aurora Orchestra EUGENE LEE VIOLIN Assistant Leader, Philharmonia, Associate Leader, Southbank Sinfonia

ASTGHIK VARDANYAN VIOLIN Leader, National Chamber Orchestra of Armenia

STEPHEN CRAIGEN HORN Horn, Royal Danish Orchestra

SOJUNG LEE CELLO Cello, Korean Chamber Orchestra

AMANDA IZZO FLUTE Guest Principal Flute, Tianjin Symphony Orchestra, China MICHAEL WILSON OBOE Principal Oboe, Hong Kong Philharmonic Orchestra ANNABELLA ZILBER DOUBLE BASS Principal Double Bass, Christchurch Symphony Orchestra, New Zealand

DANIEL BRONCANO CLARINET Founder and Director, Musica en Segura, Spain

ADRIAN UREN HORN Principal Horn, Adelaide Symphony Orchestra, ABBEY EDLIN HORN Australia Horn, Melbourne RAFFAELE CHIELI TRUMPET Symphony Orchestra, Festival Coordinator, Australia Anghiari Festival, Italy KEN ICHINOSE CELLO Associate Principal Cello, New Zealand Symphony Orchestra

LEAH JOHNSTON VIOLIN Violin, Orchestra Wellington, New Zealand

SOUTHBANK SINFONIA: HIRE US SOUTHBANK SINFONIA: HIRE US If you are planning a project involving an orchestra, or smaller chamber groups, we may be able to help.

Are you planning a project and inSouthbank need of anSinfonia orchestra chamber group?

We are to help!

Through Through our annual fellowship, hasorbuilt a family of nearly 500here versatile musicians, our annual Fellowship, Southbank has built family any of nearly 600 versatile musicians, ready to ready toSinfonia tackle projects ofaalmost description. tackle projects of almost any description.

From an orchestra for opera to collaborations with pop artists at leading UK festivals, recent projects From orchestra for opera, to collaborations with pop artists atspanning leading UK festivals, recent projects haveanseen Southbank Sinfonia tour the UK and perform music a huge variety of genres. have seen Southbank Sinfonia tour the UK and perform music spanning a huge variety of genres.

To discuss your project in more detail and to get a quote, contact Alison Brand, Orchestra Manager on To discuss your project in more detail and to get a quote, contact Alison0379.

Brand, Senior Producer, at alison@southbanksinfonia.co.uk or call 020 7921 alison@southbanksinfonia.co.uk.

PRIVATE HIRE CORPORATE MEETINGS | CONFERENCES | PRODUCT LAUNCHES | FASHION SHOWS | WEDDINGS | AWARD CEREMONIES A stunning venue boasting a breathtaking 18th century Baroque Church with a beautiful Georgian interior and a vaulted crypt below, offering a truly unique event space for hire.

Situated in the heart of Westminster, St John’s was restored after damage in the Second World War and opened as a concert hall in 1969. Built in 1728 and designed by architect, Thomas Archer, St John’s is one of the finest examples of English Baroque architecture and is considered a masterpiece of this style.

Please contact the admin team for hire enquiries: info@sjss.org.uk | 020 7222 2168

THE HALL The stunning Hall at St John’s Smith Square is ideal for receptions, cocktail parties, banquets, and conferences. Your guests will dine under the Georgian architectural design of this magnificent Baroque church.

200 dining | 500 standing | 324 theatre seating

THE CRYPT This elegant and intimate setting provides a unique alternative space for receptions, parties and meetings, within the beautiful Baroque architecture.

100 dining | 170 standing

SOUTHBANK SINFONIA: COMING UP EFG LONDON JAZZ FESTIVAL THURSDAY 17 NOVEMBER | 7.30pm CADOGAN HALL GUY BARKER Guitar Concerto GUY BARKER The Art of the Hang - Clarinet Concerto Eugene Pao guitar Giacomo Smith clarinet Guy Barker conductor

SOUTHBANK SINFONIA: LIVE BEAUTIFULLY THURSDAY 24 NOVEMBER | 7.30pm ST JOHN’S SMITH SQUARE REYNALDO HAHN Concerto Provençal for flute, clarinet, bassoon, horn and string orchestra REYNALDO HAHN Hungarian Suite for piano, violin, percussion and strings LOUISE FARRENC Symphony No.3 Anna Sułkowska-Migoń conductor As part of St John’s Smith Square’s Belle Époque Festival.

RUSH HOUR #2: AMBITIONS THURSDAY 1 DECEMBER | 6.00PM ST JOHN’S WATERLOO LUDWIG VAN BEETHOVEN Symphony No.2 in D major, Op.36 ROBERT SCHUMANN Piano Concerto in A minor, Op.54 Susanna Nucci piano Rebecca Miller conductor

A FESTIVE MUSICAL ZOO FAMILY WORKSHOP SATURDAY 10 DECEMBER | 11.00AM ST JOHN’S SMITH SQUARE

LONDON CONCERT CHOIR AND SOUTHBANK SINFONIA CHRISTMAS SATURDAY 10 DECEMBER | 7.30PM ST JOHN’S SMITH SQUARE GERALD FINZI In Terra Pax, Dies Natalis GUSTAV HOLST St Paul’s Suite, Christmas Day RALPH VAUGHAN WILLIAMS Fantasia on Christmas Carols London Concert Choir Mark Forkgen conductor Book tickets: www.southbanksinfonia.co.uk/events (Booking fees may apply)

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happy 20th birthday SouthBank Sinfonia

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from proud sponsors, Ben and Emma of

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OUR SUPPORTERS Southbank Sinfonia would like to thank our generous family of supporters: With special thanks to our Principal Partner:

Barbara Abensur David & Liz Abraham Sarah Adair & Simon Shaps Barnaby Adams & Gemma Wareham Geoffrey Adams Prudence Allington-Smith Hilary Allum The Anghiari Circle Sally Banks Michael Berman CBE & Katharine Verney Derek Bevan Lord & Lady Bichard Dr David Boddington David & Jan Bonar Nicholas Boyd Lady Julia Boyd Chris Bradshaw Caroline Brain Viscount Bridgeman Mr & Mrs R J F Brothers Peter Brown Stuart & Imogen Brown Dr Anthony Burch Nathan Burkey Sir Stanley Burnton Sally Cantello & Bill Grose Yameng Cao Peter & Ann-Sophie Capel Philippa Carling Lesley Carlton Jones Anthea Cecil Sarah Chambre Alan & Sarah Chance Priscilla Chatfield Andrew & Charmian Chojnicki Nick and Hermance Clegg Peter Collier Polly Colthorpe David Craig John Craven Diana Darlington Marian Davies Margaret Dean Bill Deayton Harriet Denne Dr Gerard Dickinson Rob & Judy Dobson Diana Douglas Mike Dunn Diana Eyre Donald Eyre-Walker Ian & Bronwen Fair Lord & Lady Filkin Sean Finnan Elisabeth Fisher Marion Friend Rev Giles Goddard

Jane Gordon-Cumming Jane & David Gosman Val & Paul Goss Ted Greeno Ainan Groat Guernsey Bursary Consortium Sir Paul Hayter LVO Sir Oliver & Lady Christine Heald Prof Mark Hill KC David Hill John Hilton KC Jenny Hodgson Allan & Laura Hoyano Heather Hurford & Alan Glanz Malcolm Ibbotson Carolyn Ichinose Liz Irwin David Jackson Helen Jackson Sir Francis & Lady Susan Jacobs Sir Bernard Jenkin Waveney Jenkins Robin Johnson Carys Jones Patricia Jordan Evans Chris Judd Robert Keeling Geoffrey Kelly Katharine Kent Dr Markus Kobler Mike & Norma Kozam Janet Langham Steven Larcombe Tracey & Pierluigi Lega Paul Leggatt Suzanne Lemieux & John Coke David Leonard Alison Light Angelique Lihou Dr Josephine Likierman Helen Likierman & Julian Hale Jonathan Lines Joan Littlewood Susan Lloyd Damien Lochrane Christina Lomas James Longford Caryl Longley Diane Maclennan Sir David and Lady Susan Madel In memory of Gil Magill James & Elizabeth Mann Ann Marsh Tony & Lucy McCullagh Angela & James McDonald Michael Meur Dr Judith Miller Ben Mingay Susan & Patrick Mocatta Ian Mok Tom Monfries Edith Monfries Mary Monfries Shiona Monfries

Stephen & Fiona Morgan Alison Morley Alan Moses & Dinah Casson James Murphy Julie Nicholls Paul Nicholson Jill Nightingale Mike & Adeline Nolan Neil Norris Barbara Nunn Mary Oddi Mary-Vere Parr Gavin & Glenna Parry John Pead & Ann Rudland Mary Pearson Sukey Perry John & Judy Polak Ankie Postma Rosemary Raza Eve Kathleen Roberts Lady Barbara Roberts Lady Robey Iain & Claire Robinson Maggie & Tony Ronald Julia Rowntree John Rowntree Roger Royle Joe Ryan Dr D & Prof M Rycroft Margaret Sandford Sir John Saunders Mark Sceeny Alastair Scott Patrick & Susannah Seely Charles & Stella Shee Dan Shilladay & Gavin Compton John Slack Frances Slack Nancy Sladek David & Dorothy Smethurst Philippa Smethurst Anna Sperling Paul Staples Lord Dennis Stevenson Derek Stubbs Brian & Pam Sturtridge David & Elizabeth Talbot Mike Taylor Ben & Katie Thomas Patricia Thomas OBE Peter Thompson William & Teresa Tilden Richard & Helen Truss David and Susan Turmeau Dr David Usher Neil and Isobel Vass Michael Wade David Wagner & John Maloney Alan Walker Julian Walker Clare Walker Louise & Blair Wallis Lady Joan Walmsley & Lord Martin Thomas

Nicholas Warren & Catherine Graham-Harrison Jill Waters Imogen Whitehead Julia Whiteman Kevin Wilde Julius Wolff-Ingham Sylvia Woodcock Anna Yallop Emma Yarwood Simon Yates We would also like to thank our Walking Bass Friends, and all of our supporters who wish to remain anonymous.

Trusts and Foundations The Ambrose and Ann Appelbe Trust The D’Oyly Carte Charitable Trust Cockayne - Grants for the Arts and The London Community Foundation Enterprise Arts Trust The Eranda Rothschild Foundation The Eyre Family Foundation The Fenton Arts Trust The Fidelio Trust The Foyle Foundation The Samuel Gardner Memorial Trust The Sargent Charitable Trust The Garrick Charitable Trust The Headley Trust The Kirby Laing Foundation The Leche Trust The Lucille Graham Trust The Ian Mactaggart Trust The Mageni Trust Henri Moerel Foundation The Music Reprieval Trust The NZ-UK Link Foundation The Radcliffe Trust The Reed Foundation The Portal Trust The Solti Foundation The Foundation for Sport & the Arts Tait Memorial Trust Humphrey Richardson Taylor Charitable Trust The Vaughan Williams Charitable Trust The Vox Musica Trust The Barbara Whatmore Charitable Trust Corporate Sponsors Accelerating Experience Ltd Bat and Bottle Busatti John Lewis Partnership Smith Square Partners

To find out how you can get involved with our work, please go to: Southbank Sinfonia : Join Our Family www.southbanksinfonia.co.uk/friends Southbank Sinfonia at St John’s Smith Square Transition Fund www.sjss.org.uk/donations St John’s Smith Square: Become a Friend www.sjss.org.uk/support-us

Southbank Sinfonia is a registered charity No. 1092461 Information in this programme was correct at the time of going to print.

Souvenir programme designed by Sophie Oliver