WIMBLEDON INTERNATIONAL MUSIC FESTIVAL Recitals with Attitude Friday 13 – Sunday 22 November 2020
Welcome from the Festival Director I extend a warm welcome for what is something of a departure for the Wimbledon International Music Festival – our first ‘virtual’ festival. Whilst nothing can replace the pleasures of live music-making we are blessed with the opportunity to get closer to the heart of the performer, and to reach new audiences both nationally and internationally. The central feature of this year’s Festival is a concentration on ‘recitals with attitude’, as distinct from the perhaps more academic lecture-recital. I have encouraged our artists to reveal their personal relationship with the music they have chosen to play, how they prepare for a concert, what are the particular challenges, and what they have personally discovered new in their repertoire. Our programme is also celebration of the wonders that Ludwig van Beethoven bequeathed to us. Looking forward once again to live concerts, many of the events originally planned for this year’s Festival have been pencilled-in for next year, including Beethoven’s Missa Solemnis, so Beethoven will rightly be feted over two years. Music has the power to bring joy and enlightenment even in the darkest of times. I wish all musicians everywhere a speedy return to normal, and I hope our offerings this year will lift your spirits. Keep safe, keep well, and I look forward to seeing you in person, live next year. Anthony Wilkinson Festival Director
Programme cover painting by Rivka Golani. Used with kind permission.
Wimbledon International Music Festival thanks the following for all their support and hard work which has made the festival possible. The Festival Team Festival Producer: Sally Rogers Digital Producer: Sean O’Connell Video Production: Alex Barnes, Apple and Biscuit Recordings Design: Bruno Lasnier, milkindustries Website: Levente Kapitany, Webfresh Marketing & Public Relations: Michael Higgins Benefactors and Friends: Nicky Back
Honorary Patrons Alfred Brendel Raphael Wallfisch Michael Collins Rivka Golani Ian Partridge John Gilhooly Trustees Andrew Lenon, Chairman Annie Lee, Treasurer Julian Hardwick Julian Marland
Wimbledon International Music Festival Ltd Company no.: 7145737 Registered Charity no.: 1142980 Administration 152 Durham Road, London SW20 0DG T: 020 8946 5078 E: anthony@wimbledonmusicfestival.co.uk www.wimbledonmusicfestival.co.uk
Festival Director Anthony Wilkinson
3
éÜçíçW=êçÄÉêí=~ëÅêçÑíI=ÅçìêíÉëó=ëçåó=Åä~ëëáÅ~ä
“No other piano comes close to a Steinway. Its range of colour never fails to capture the imagination and its responsiveness is always breathtaking. The Steinway is everything a pianist could want.”
PA U L L E W I S S T E I N WAY A R T I S T
Steinway Hall London W1U 2DB For more information or to arrange a private appointment at our London showrooms, please call: 0207 487 3391 or email info@steinway.co.uk
Wimbledon International Music Festival Friday 13 – Sunday 22 November 2020
FRI 13 NOV 7.30PM SAT 14 NOV 7.30PM
PAUL LEWIS, piano
12
BEETHOVEN’S CELLO SONATAS
14
Beethoven’s Diabelli Variations
Raphael Wallfisch & John York
7.30PM
Michael Collins, Robin O’Neill & Michael McHale
BEETHOVEN: TRIO FOR CLARINET, BASSOON & PIANO
16
MON 16 NOV
THE TELLING
18
SUN 15 NOV
7.30PM
Vision: The imagined testimony of Hildegard of Bingen
7.30PM
Songs Without Words
CLARE HAMMOND, piano
20
WED 18 NOV
STUDENTS OF THE YEHUDI MENUHIN SCHOOL
22
EXPLORING ‘COLOUR AND THE VIOLA’
24
TUE 17 NOV
7.30PM THU 19 NOV 7.30PM
A showcase concert
Rivka Golani & Michael Hampton
7.30PM
Beethoven’s String Quartet no. 13, op. 130
SOLEM QUARTET
28
SAT 21 NOV
EXPLORING BEETHOVEN’S GENIUS
30
FLORILEGIUM: FATHER, SON & GODFATHER
32
FRI 20 NOV
7.30PM
SUN 22 NOV 7.30PM
Piers Lane, Tama Matheson, Jessica Duchen & Anthony Wilkinson
Chamber music of J.S. Bach, C.P.E. Bach & Telemann
5
‘High expectations of the pupils enable them to attain excellent standards.’ ‘Pupils show excellent self-confidence and resilience.’ ISI Educational Quality Inspection Report
The Study is a leading prep school situated in the heart of Wimbledon Village. We identify and nurture each girl’s unique academic, creative and sporting skills in a caring and supportive community.
For further details and to book a virtual tour, contact Admissions on admissions@thestudyprep, or call 020 8947 6969. www.thestudyprep.co.uk Registered Charity No. 271012
We welcome enquires about our scheme of assistance with fees for girls aged 7+ Preparatory School for girls aged four to eleven
6
Geoff & Shirley Chapman Sarah Cox Maria Elliott Sally Flew Peter & Olivia Ford Gold Benefactors Simon & Sherril Ingall Marcus Beale Architects Roger & Rosemary Chadder Jeremy & Liz Ison Gillian Jeens Peter Goodwin Oscar & Margaret Lewisohn Robert & Margaret Lyons Vivien Mackay Ian & Tina Taylor Judith Marsden Dorothy Mellor Silver Benefactors John & Dianne Norton Zeev & Liz Aram Chris Ousey Nan Brenninkmeyer Bruce Patterson Julian Hardwick Colin & Wendy Price Richard & Diane Neil Mills Stephen and Vicky Streater Roger & Evelyn Richardson Michael Riding John & Shirley Rowcliffe Bronze Benefactors Evelyn & Tim Strouts Elisabeth Allerman East Wendy Sturgess Richard & Jenny Hardie Reginald Tavendale Nina Kaye Richard Thomas Alan & Jenny Paul Alison Townsend Steven & Mary Ann Turnbull Gold Friends Nicola Wallis Brian & Ann Andrews Sheila Woodward Eleanor Cranmer Andrew & Ursula Edwards Friends Heather Ewart Di Allison Richard Fernyhough Ken & Nicky Back Charles Graham Alex Brougham Peter Hadsley-Chaplin Alastair Brown Andrew & Sarah Hobson Philip Brown Deborah Ivory Stephen & Elizabeth Chaplin Hugh Lenon Natasha Cheeseman Celia Macleod Aidan Christie Mike & Mala Rappolt David & Kate Cooke Katie Moss Sandra Crowe Alan Sainer Marcela De Montes Christopher Smith Richard & Juliet Dorrington Jane Vaughan Sheila Dunman Simon Edelsten Silver Friends Julian Edwards Giles Andrews David Essex Thomas Balk Caroline Ewans Peter & Mariette Ball Sally-Ann Feldman Harriette Cahill Lady Patricia Finch Ralph & Judy Cake Honorary Benefactor Patron for Life Maggie Black
7
Rosalind Gonley Vernon Herbert Robert & Hillia Holland Julie Howlett Janet Hunter Alan & Carol Jenkins Richard & Virginia Jennings Jeremy La Niece John & Jessica Lawrence Edward Leek Hilary Leek Muriel Levin Graham Little Martina Luetkens Helena Mason Stephen Matthews Susan Mayo Lady Sue McLaren John & Carola Moran Charles Morgan Stephen & Catherine Nelson Catherine Neylan Richard Pelly Julian Pope Joan Francesca Quint Henry & Stephen Roche Kitty M Schreiber Hugh Seeley Paul Sharma Georgette Shearer Dinah Shoults Eve Slocombe Mike & Bridget Smith Susan Stowe Ann Thimont Alan & Paula Thomas Linda Thomas Andrew Thompson Robert & Jennifer Tomlinson Alan Walker Michael Waugh Mark Welling James Whiteley Grenville Williams
BENEFACTORS & FRIENDS OF WIMBLEDON INTERNATIONAL MUSIC FESTIVAL The Benefactors and Friends of WIMF support the work of the charity, helping to fulfill its aim of bringing music of the highest quality to Wimbledon and neighbouring South West London. The Benefactors and Friends are the backbone of the Festival: their financial and moral support has been vital in helping to launch what is now an annual celebration of good music, and a continuation of the opportunity to increase our involvement in education and building new audiences for the future. Many Benefactors and Friends have come forward with substantial donations, but smaller sums and help in kind are enormously valued and much appreciated. All Benefactors and Friends, whenever able, have signed the Gift Aid form which boosts their donation by a valuable 25%.
BENEFACTORS’ AND FRIENDS’ BENEFITS
BECOME A BENEFACTOR OR A FRIEND
Application forms can be downloaded from the WIMF website at www.wimbledonmusicfestival.co.uk Alternatively contact Nicky Back, Benefactors’ and Friends’ Co-ordinator: 020 8946 8714 or nicky.back@wimbledonmusicfestival.co.uk.
Priority booking period Complimentary programme covering the entire Festival Discounts in local restaurants during the Festival Opportunity to attend special events e-newsletters
MEMBERSHIPS Friend – £40 and above Silver Friend – £100 and above Gold Friend – £250 and above Bronze Benefactor – £500 and above Silver Benefactor – £1,000 and above Gold Benefactor – £2,000 and above
CORPORATE SPONSORSHIP & LEGACIES We welcome and value corporate sponsorship and legacies. To discuss these, please call Anthony Wilkinson on 020 8946 5078 or email anthony@wimbledonmusicfestival.co.uk.
We thank all our Sponsors and Funders for their generous support:
8
GIFTS IN WILLS Remembering the Wimbledon International Music Festival in your Will
Why we need your help Maintaining the scope of our programmes is challenging, year in and year out. We rely on the help of the Friends of WIMF and all our donors, to meet an annual funding gap. The Festival cannot function, nor develop its potential, on the revenue from ticket sales and public grants alone. Gifts in Wills, whatever the size, can make an enormous difference to what we are able to do and will benefit both artists and audiences of the future. You can be central to the Festival’s achievements in future years.
At eleven years old WIMF is young, and has only just begun to deliver its potential. In the future we would like to become a force in developing new audiences, taking music out into the community, and providing more inspirational educational opportunities for young people to become involved in.
What a gift in your Will can do As a registered charity (no. 1142980) gifts in Wills can become an important source of income for the Wimbledon International Music Festival and enable it to continue its now established tradition of presenting great artists, encouraging new talent, and making chamber music and song accessible to the Wimbledon community. This kind of gift can ensure that your experience can be shared by future generations.
Your gift will go a long way to Provide performance and creative opportunities for established and emerging artists Help our schools and learning initiatives to develop Develop audiences for the future
To find out more about leaving a legacy please contact Julian Hardwick: julian_hardwick@hotmail.com.
T R A N S FO R M I N G B OYS ’ L I V E S T H RO U G H E D U C AT I O N
Music at Whitgift provides an eclectic and enriching environment in South London, in which all young musicians can develop and thrive. › Partnerships with the Royal Philharmonic Orchestra and Junior Guildhall › Masterclasses with world-renowned chamber ensembles and soloists
if In t is te p r n ro at ud i o to na s l M up us po ic rt Fe W st im iv bl al ed o
n
› Oxbridge Choral Scholarships regularly achieved › Croydon Minster Choristerships Whitgift is served with superb transport links to Wimbledon
www.whitgift.co.uk
hi
@WhitgiftMusic
W
@WhitgiftSchool
tg
Whitgift School | Haling Park | South Croydon | CR2 6YT
9
The Wimbledon Concert Hall Trust 10
11
12
FRIDAY 13 NOVEMBER
PAUL LEWIS
piano
Ludwig van Beethoven 33 Variations on a Waltz by Anton Diabelli, op. 120
Paul Lewis explores a fascinating journey through a creative imagination that could conjure a giant set of remarkable variations from a rather commonplace theme. Seeking to generate publicity for his music publishing business, Anton Diabelli circulated a waltz of his own to fifty composers asking each to contribute a variation to his collective endeavour. Beethoven originally dismissed the trivial waltz as “a cobbler’s patch” of mechanical sequences. Despite his initial distaste, the challenge of the simple theme triggered a creative rush and Beethoven found an almost unlimited response, exploring a vast range of fleeting changes of movement, rhythm, texture and colour, leading Hans von Bülow to describe it as “a microcosm of Beethoven’s art” – rich in allusion, humour and parody. Alfred Brendel went further finding them to be “the greatest of all piano works”. Bagatelles and Diabelli Variations. He celebrates the 2020 Beethoven anniversary year with Beethoven concerto cycles in Tanglewood (Boston Symphony and Andris Nelsons) Erl (Salzburg Mozarteum and Andrew Manze) and at the Palau de la Musica Barcelona, and Teatro Massimo in Palermo. Paul Lewis’ recital career takes him to venues such as London’s Royal Festival Hall, Alice Tully and Carnegie Hall in New York, the Musikverein and Konzerthaus in Vienna, the Théâtre des Champs Elysées in Paris, the Concertgebouw in Amsterdam, and the Berlin Philharmonie and Konzerthaus. He is also a frequent guest at the some of the world’s most prestigious festivals, including Tanglewood, Ravinia, Schubertiade, Edinburgh, Salzburg, Lucerne, and the BBC Proms where in 2010 he became the first person to play a complete Beethoven piano concerto cycle in a single season.
Paul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received unanimous critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D’or de l’Année, and the South Bank Show Classical Music award. He holds honorary degrees from Liverpool, Edge Hill, and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours. He has been designated the 2020 Koussevitzky Artist in recognition of his artistic relationship with the Boston Symphony Orchestra at Tanglewood.
His multi-award winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas, concertos, and the Diabelli Variations, Liszt’s B minor Sonata and other late works, all of Schubert’s major piano works from the last six years of his life including the 3 song cycles with tenor Mark Padmore, solo works by Schumann and Mussorgsky, and the Brahms D minor Piano Concerto with the Swedish Radio Symphony Orchestra and Daniel Harding. Future recording plans include a multi-CD series of Haydn sonatas, Beethoven’s Bagatelles, and works by Bach.
He appears regularly as soloist with the world’s great orchestras, including the Berlin Philharmonic, the Boston Symphony, Chicago Symphony, London Symphony, London Philharmonic, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, LA Philharmonic, and the Royal Concertgebouw, Cleveland, Tonhalle Zurich, Leipzig Gewandhaus, Philharmonia, and Mahler Chamber Orchestras. He has performed Beethoven concerto cycles with Melbourne Symphony Orchestra, the São Paulo State Symphony Orchestra, and the Royal Flemish Philharmonic Orchestra. Conductors he has worked with include Daniel Harding, Andris Nelsons, Manfred Honeck, and Bernard Haitink.
Paul Lewis studied with Joan Havill at the Guildhall School of Music and Drama in London before going on to study privately with Alfred Brendel. He is co-Artistic Director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK.
The 18/19 season saw the conclusion of a two-year recital series exploring connections between the sonatas of Haydn, the late piano works of Brahms, and Beethoven’s 13
SATURDAY 14 NOVEMBER
BEETHOVEN’S CELLO SONATAS Raphael Wallfisch cello John York piano Ludwig van Beethoven Sonata no. 2 in G minor, op. 5 no. 2 i. Adagio sostenuto e espressivo – Allegro molto più tosto presto Ludwig van Beethoven Variations on ‘Bei Männern, welche Liebe fühlen’ WoO46 Ludwig van Beethoven Sonata no. 3 in A major, op. 60 i. Allegro ma non tanto Ludwig van Beethoven Sonata no. 5 in D major, op. 102 no. 2 i. Allegro con brio ii. Adagio con molto sentimento d’affetto iii. Allegro fugato
The five sonatas, and these sets of variations for cello and piano, have always represented for me a great Classical arch spanning Beethoven’s whole creative life; the op. 5 and op. 102 couplings form the mighty uprights, op. 69 is the proud keystone, and the variations decorative capitals. Comparing the early sonatas with the later pair can be very revealing. Beethoven in op. 5 is clearly showing off, exuberantly displaying his pianistic and compositional skill and his youthful generosity in long, brilliant, structurally daring and technically demanding pieces. The Beethoven of op. 102 is totally different – sparing, concise, wiser, more patient, totally in tune with the medium, never self-seeking, nor technically indulgent. The A major sonata – the keystone of the arch – starts with the cello centre-stage singing a full-throated melody, one of Beethoven’s best loved and most inspired. It is immediately obvious that the work is to be lyrical and confident. When he calls for virtuoso display it is always essential to the argument, never indulgent. The material throughout is rich, generously moulded and clearly structured. Notes by John York 14
The Wallfisch-York cello and piano duo dates back over 35 years. Although they had sometimes played together before 1982, Raphael’s regular duo partner was his late father, the wonderful pianist Peter Wallfisch. John might occasionally take over his role if a foreign trip seemed too stressful or clashed with Peter’s own concerts or with his professorial duties at the Royal College of Music in London. It was therefore not inappropriate for John to step in, especially when Peter became ill. Concerts became a constant flow and, following Peter’s death, they established the Wallfisch-York duo on a permanent basis. Major festivals in the UK and abroad invited them to play. Recordings were made, London recitals given and foreign tours undertaken, from Bermuda to Turkey, Germany to Australia, Oman to Norway. The Wallfisch-York duo have recorded all five Beethoven sonatas and three sets of variations on Nimbus NI 5741/2 – and to this they added Czerny’s authorized cello version of the towering, brilliant Kreutzer Sonata op. 47 and Beethoven’s own cello version of the attractive and rarely played Horn Sonata op.17, this coupling on Cello Classics CC 1014. An all-Poulenc disc on ASV/Black Box presents, along with the cello and piano sonata, all the shorter pieces and some songs arranged by John. The repertoire Wallfisch and York have recorded and perform is extensive, arguably unmatched by any duo in the profession. It ranges across the entire spectrum from Bach onward to the latest works written for them by leading British composer James MacMillan. John’s own Cello Sonata also features in their programmes. Great masterpieces, popular and neglected Romantic works, long-forgotten sonatas, notably their worldpremière recording of Zemlinsky’s long-lost and very fine early sonata and short pieces, found among Raphael’s father’s papers and now republished, alongside works by Korngold and Goldmark. The duo has recorded Nimbus albums of the complete Chopin, Grieg, Kodaly, Delius, Liszt, Schumann etc., and all this repertoire is supplemented with brilliant arrangements, new commissions, opera fantasies, enlightening programming and programme notes. In 2017 their Nimbus recording of the complete Ernest Bloch works, which includes an early unpublished sonata, was issued following the 2016 release of another disc covering all the published and unpublished cello works of Rebecca Clarke – and including another work of John’s. Wallfisch-York’s Chopin CD was hailed as number 2 in Gramophone Magazine’s all-time top ten Chopin discs. 2018 saw the release of the complete sonatas of Brahms and Martinů.
Supported by
Recent seasons have seen the duo perform in London at the Wigmore Hall, Kings Place, in the Netherlands, Zurich, Bucharest, in Ripon and Exeter cathedrals, the latter concert being a major Holocaust Memorial recital which was also given a historic performance in the Berlin Bundestag.
15
SUNDAY 15 NOVEMBER
BEETHOVEN: TRIO FOR CLARINET, BASSOON & PIANO
The Beethoven Trio is one of a series of early chamber works, many involving woodwind instruments because of their novelty and popularity at the time. The key of B-flat major was most likely chosen to facilitate rapid passages on the B-flat clarinet before the invention of modern key stems – such as the Albert, or Boehm – were developed. The work is sometimes known as the Gassenhauer Trio, a nickname that refers to its third movement which contains nine variations from a theme from a popular drama playing at the Wiener Hoftheater. This particular melody – in translation ‘Before I go to work’ – was so popular that it was sung or whistled in many of Vienna’s Lanes – ‘Gasse’.
Michael Collins clarinet Robin O’Neill bassoon Michael McHale piano
Glinka is commonly regarded as the founder of Russian nationalism in music, and a considerable influence on Rimsky-Korsakov, Borodin and Mussorgsky. As a child Glinka had lessons with the famous Irish virtuoso pianist John Field who was living in St Petersburg. Glinka’s instrumental music offers a combination of traditional Russian melody and the exotic.
Ludwig van Beethoven Trio in B flat major, op. 11 i. Allegro con brio ii. Adagio iii. Tema con variazioni ‘Pria ch’io l’impegno’ Richard Rodney Bennett Sonatina i. Con fuoco ii. Night thoughts iii. Scherzando Johann Sebastian Bach Courante (from Cello Suite no. 3 in C major BWV 1009) Mikhail Glinka Trio Pathétique in D minor i. Allegro moderato ii. Scherzo: Vivacissimo iii. Largo iv. Allegro con spirito
In the Trio Pathétique Russian folk melody, which he must have heard from the serf musicians of his uncle’s orchestra, is expressed in the idiom of the Viennese classics. In the Scherzo, the piano has a sparkling part set against long lyrical passages in the winds, the tuneful trio recalls early Beethoven. The Largo holds clues to the nickname ‘pathétique’ from the melodies given to the winds especially the lower voice. The Allegro con spirito features running triplets which characterize the exciting finale. 16
Michael Collins is one of the most complete musicians of his generation. With a continuing, distinguished career as a soloist, he has in recent years also become highly regarded as a conductor. Michael will be the Artistic Director in Residence with the London Mozart Players from September 2021-2023, to encompass his 60th birthday season. From 20102018 he was the Principal Conductor of the City of London Sinfonia. Recent highlights include a return to the Philharmonia Orchestra as conductor; performances worldwide with orchestras including Melbourne Symphony Orchestra, Minnesota Orchestra, Swedish Chamber Orchestra, Kyoto Symphony Orchestra, BBC Concert Orchestra, and tours in South Africa, Australia, Japan, Brazil and Mexico. In great demand as a chamber musician, Collins performs regularly with the Borodin, Heath and Belcea quartets, András Schiff, Martha Argerich, Stephen Hough, Mikhail Pletnev, Lars Vogt, Joshua Bell and Steven Isserlis. His ensemble, London Winds, celebrated its thirtieth anniversary in 2018 and the group maintains a busy diary with highcalibre engagements.
Robin O’Neill is principal bassoonist with the Philharmonia Orchestra and has held the same position with the English Chamber Orchestra and as a founder member of the Chamber Orchestra of Europe. He is a member of London Winds and the Gaudier Ensemble. He is a Grammy nominated recording artist for his work with Geörgy Ligeti and has recorded virtually the whole of the core chamber music repertoire with more than 40 CDs to his name on labels such as Hyperion, Chandos, Decca and Philips. Robin O’Neill is Professor of Bassoon at the Royal Academy of Music in London. He has coached bassoon and wind sections for several summer festivals including The Canton International Summer Music Academy in China, the Lindenbaum Festival in South Korea and the Adam Mickiewicz I,CULTURE Orchestra in Poland. Robin O’Neill has collaborated with musicians such as Mikhail Pletnev, Boris Berezovsky, Mitsuko Uchida, Christoph Eschenbach, Pascal Rogé, Stephen Kovacevich, Alexander Mazdar, Pinchas Zuckerman, Salvatore Accardo, Isabelle Faust, Gautier Capucon, Michael Collins, Alina Ibragimova, the Lars Jansson Jazz Trio and actors such as Jeremy Irons, Julian Glover, Paul McGann and Hugh Dancy. He has also performed by invitation for His Royal Highness Prince Charles the Prince of Wales.
17
Belfast-born Michael McHale is one of Ireland’s leading pianists. Since completing his studies at Cambridge University and the Royal Academy of Music, he has developed a busy international career as a solo recitalist, concerto soloist and chamber musician. He has performed as soloist with the Hallé, Minnesota, Bournemouth Symphony and Moscow Symphony orchestras, the Teatro Colon Orchestra, Discovery Ensemble, London Mozart Players and all five of the major Irish orchestras in repertoire ranging from Mozart and Beethoven to Gershwin, Prokofiev and Rachmaninov. 2015 saw the release of a second solo CD, Miniatures and Modulations, of music by Philip Hammond on the Grand Piano label (awarded a 5* review by BBC Music) and a disc of clarinet sonatas by Brahms and Reinecke with Michael Collins for Chandos (Editor’s Choice in Gramophone). Upcoming projects include a first concerto CD recording with the RTÉ NSO and conductor Courtney Lewis, and concerto débuts with the City of London Sinfonia and the Jacksonville Symphony Orchestra in Florida. A commitment to new music has seen Michael give first performances and recordings of music by composers including Arvo Pärt, Valentin Silvestrov, John Tavener, Luke Bedford and Ian Wilson, as well as concerto world premières by Irish composers Garrett Sholdice (with Gábor TakácsNagy and the Irish Chamber Orchestra) and Philip Hammond (with Nicholas Collon and the Ulster Orchestra for BBC Radio 3).
“Imaginative and eclectic.” The Guardian, Fiona Maddocks
MONDAY 16 NOVEMBER
VISION: THE IMAGINED TESTIM THE TELLING Clare Norburn & Ariane Prüssner voices Jean Kelly medieval harp Teresa Banham actor (as Hildegard) Filming by Gerald Kyd Sound by Ignacio Lusardi Monteverde & Jiva Housden Lighting by Natalie & Mark Rowland, MobileStage Ltd Directed by Nicholas Renton Play by Clare Norburn
18
Blurring the boundaries of drama and concert, Vision explores the extraordinary life of the visionary medieval abbess Hildegard of Bingen, alongside her haunting and distinctive chant. It is ‘an imagined testimony’ as Hildegard, read by actress Teresa Banham, lies on her deathbed, revisiting and reexperiencing meaningful episodes from her past.
MONY OF HILDEGARD OF BINGEN Hildegard, abbess of Bingen (1098-1179) is recognised as a woman of extraordinary talents, known for the music she composed, her treatise on medicine, and her influence within the church. Her main fame stems from her ‘visions’ from God, expressed mainly in her works: Scito vias Domini (Scivias), Liber Vitae Meritorum, and Liber Divinorum Operum. Her visions are significant because they are feminine in nature yet were accepted by a patriarchal church. She used her visionary experiences to promote her status as a religious leader and to increase respect for women.
Hildegard was a gifted poet: best known today for her plainchant settings of her verses, and for the ethereal quality of her music. More than three quarters of all the extant music from the Medieval times has been attributed to her. Vision was selected by The Guardian’s Tim Ashley, alongside the Salzburg and Edinburgh Festivals, as his recommended home watching: “Norburn and Prüssner are mesmerising in the music. An austerely beautiful piece about a woman whose faith gave her extraordinary strength and courage… it really is wonderful, so do try and catch it.” 19
TUESDAY 17 NOVEMBER
CLARE HAMMOND piano
Supported by
Sergei Rachmaninov Sonata No. 2 in B flat minor, op. 36 i. Allegro agitato ii. Non allegro – Lento iii. L’istesso tempo – Allegro molto
Clare Hammond, winner of the prestigious Young Artists Award of the Royal Philharmonic Society, considers the factors in building a solo piano recital programme for each season. Soloists might list a large repertoire of works they have performed, but have only a selected few at highest concert pitch at any one time. The great Russian pianist Gregory Sokolov generally has one programme a season: the first half remains the same, though occasionally he might make a change in the second half.
The Sonata no. 2 demonstrates all those qualities of Rachmaninov’s art that make his music permanently appealing. The Allegro agitato opening seizes one by the hair. The second movement, following without a break, works melancholy from nostalgic elegy to a fever before a towering finale – with its snatches of a parodied march – shot through with one of Rachmaninov’s most compelling lyric inspirations.
Clare Hammond has chosen to reveal how she built up the programme for the autumn season of 2020, and discusses the appeal and the challenges of:
Lili Boulanger Trois morceaux i. D’un vieux jardin ii. D’un jardin clair iii. Cortège
Felix Mendelssohn Songs Without Words, op. 67 i. Andante ii. Allegro leggiero iii. Andante tranquillo iv. Presto: Spinnerlied v. Moderato vi. Allegro non troppo
A brief homage to a fragile but determined talent. Championed by her sister Nadia Boulanger, the internationally celebrated teacher, Lili was the creative genius of the family, a child prodigy, and winner of the prestigious ‘Prix de Rome’, who died of ill health at the age of 24.
The works were part of the Romantic tradition of writing short lyrical pieces for the piano, although the specific concept of ‘Songs Without Words’ was new. Felix Mendelssohn wrote eight volumes each consisting of six songs. Book 6, op. 67 includes Spinnerlied, popularly known as the ‘Bee’s Wedding’.
Earl Wild/George Gershwin 3 Virtuoso Etudes on ‘Embraceable You’, ‘Fascinatin’ Rhythm’ and ‘I Got Rhythm’
Hélène de Montgeroult 3 Etudes
These delightful pieces in some way challenges the usual meaning of the word ‘etude’. They make major technical demands, but they are also musical challenges in how to expand the melodies and harmonies of George Gershwin into vibrant and colourful piano pieces – some wistful, some rhythmic – that exude all the vigour and dash of New York’s jazz age. They offer stylistically inventive and technically challenging etudes in the late nineteenth century virtuoso manner of Liszt and Rachmaninov but incorporating mid twentiethcentury jazz harmonies.
This is one of Clare’s ‘discoveries’. The wife of an Austrian aristocrat killed during the French Revolution, Hélène saved her life by improvising a set of variations on the La Marseillaise before the Committee of Public Safety.
20
BIS Records. She was engaged to perform with the Britten Sinfonia (Ryan Wigglesworth), Sinfonia Varsovia (Jacek Kaspszyk) and Royal Philharmonic Orchestra (Christoph Altstaedt) in 2020 and performs Rachmaninov with the BBC Symphony Orchestra (Dalia Stasevska) in 2021.
Acclaimed as a pianist of “amazing power and panache” (The Telegraph), Clare Hammond is recognised for the virtuosity and authority of her performances and has developed a “reputation for brilliantly imaginative concert programmes” (BBC Music Magazine). In 2016, she won the Royal Philharmonic Society’s ‘Young Artist Award’ in recognition of outstanding achievement and in 2020 she was engaged to perform at the International Piano Series (Southbank Centre) and the Aldeburgh Festival.
Clare’s discs for BIS have been widely praised with the Observer describing her as a “star interpreter of contemporary music” in Hesketh and The Times commending her “deliciously unfussy poise and elegance” in Myslivecek. Etude received unanimous critical acclaim for its “unfaltering bravura and conviction” (Gramophone) while the BBC Music Magazine stated that “this array of wizardry is not for the faint hearted”. Her discography includes world premiere recordings of over twenty works.
In recent seasons, Clare has performed Hesketh with the Royal Liverpool Philharmonic Orchestra (Vasily Petrenko), Panufnik with the Warsaw Philharmonic Orchestra (Jacek Kaspszyk), Roxburgh with the BBC Symphony Orchestra (Michael Seal), and Connesson with the Philharmonia (Jamie Phillips). In 2019, she gave the world premiere of Uncoiling the River by Kenneth Hesketh with the BBC National Orchestra of Wales (Martyn Brabbins) and released the Complete Keyboard Works of Myslivecek with the Swedish Chamber Orchestra (Nicholas McGegan) for
Clare completed a BA at Cambridge University, where she obtained a double first in music, and undertook postgraduate study with Ronan O’Hora at the Guildhall School of Music & Drama. 21
WEDNESDAY 18 NOVEMBER
STUDENTS OF THE YEHUDI MENUHIN Cocoro Tomito violin Svitlana Kosenko piano
Rebecca You piano Dmitri Kabalevsky Sonata no. 3 in F major, op. 46 i. Allegro con moto ii. Andante cantabile iii. Allegro giocoso
George Enescu Ménétrier (from Impressions d’enfance, op. 28) Lili Boulanger Nocturne
Alfred Leischman guitar
Eva Ter-Sarkisova violin Svitlana Kosenko piano
Leo Brouwer Elogio di la Danza i. Lento ii. Ostinato
Ernest Chausson Poème, op. 25
22
SCHOOL The Yehudi Menuhin School began life in London in 1963 with just fifteen pupils before moving in the following year to Stoke d’Abernon. There are now over fifty staff who provide the musical, academic and pastoral direction for around eighty boys and girls aged from 8 to 19. When Lord Menuhin died in 1999, his funeral was held at the School and he was buried in the school grounds just beneath the tree he planted a few years earlier to mark his 80th birthday. His legacy was commemorated further with the opening of The Menuhin Hall, a 300-seat concert hall just a few feet from his grave. The Hall now provides rehearsal, recording and performance space for pupils at the School, who give in the region of twenty “showcase” concerts there each year. It is also a platform for the dozen or so “celebrity” concerts given throughout the year by musicians of international standing. 23
As well as having the pianist and conductor Daniel Barenboim as its President and Musical Patrons of the calibre and international renown of Sir András Schiff, Steven Isserlis, and Heinrich Schiff, the School has enjoyed may visits over the years from famous musicians such as Itzhak Perlman, Gidon Kremer, Mstislav Rostropovitch, Louis Kentner, Vlado Perlemuter, and, of course, Yehudi Menuhin himself.
THURSDAY 19 NOVEMBER
EXPLORING ‘COLOUR AND THE VIOLA’ Supported by
Rivka Golani viola Michael Hampton piano
Robert Schumann Märchenbilder, op.113 i. Nicht schnell ii. Lebhaft iii. Rasch iv. Langsam, mit melancholischen Ausdruck Benjamin Britten Lachrymae, op.48 Ella Mich-Sheriff Longing Claude Debussy (arr. Heifetz) Beau Soir Claude Debussy (arr. Heifetz) L’Après-Midi d’un Faune Claude Debussy (trans. Léon Roques) La Plus que Lente Antonín Dvořák Silent Woods, op.68 no.5 Antonín Dvořák (arr. Kreisler) Songs my Mother taught me, op. 55 no.4 Pablo de Sarasate Romanza Andaluza, op.22 no.1
24
Robert Schumann’s masterwork shows the composer in the idiom he knew best: a series of meticulously crafted and highly diverse vignettes. Märchenbilder consists of several highly contrasting short movements, each a complete entity unto itself in terms of character, tempo, and variety of colours. Schumann excelled in the world of the miniature, where his many moods and ideas were compared and contrasted to one another in small gems of artistic expression. In the spirit of the Florestan and Eusebius of his divided musical characters between melancholy, virtuosic frenzy, and wistfulness, the final movement is the jewel among the tales, ending the work with a sense of yearning and resignation. Throughout his life, Britten was strongly attracted to the music of early English composers, and for this work he turned to the song If my complaints could passions move by John Dowland (1563-1626). It was a convention of Elizabethan love-songs that they should express love’s sorrows as readily as its joys, and many of Dowland’s love-songs have a dark cast. Britten borrows from that convention by naming his work Lachrymae (tears). The subtitle, ‘Reflections on a Song of Dowland’ is important because it makes clear that this is not a set of variations. Instead, Britten takes the opening phrase of Dowland’s song and uses that as the basis for what might be called “metamorphoses”: the shape and harmonic structure of that opening phrase will evolve through different permutations across the fifteen-minute span of Lachrymae. Dowland’s song is a sombre one and Britten’s ‘reflections’ on it preserve that character. In the sixth, Appassionato, Britten quotes from another Dowland song Flow my tears. The last section returns by means of a slow crescendo to Dowland’s original melody and harmony, when it is heard complete for the first time.
Rivka Golani is recognised as one of the outstanding violists of modern times. Her contributions to the advancement of viola technique have already given her a place in the history of the instrument and have been a source of inspiration not only to other players but also to the many composers who have been inspired by her mastery to write for the viola. More than 350 works have so far been composed for Rivka, including over 80 concertos, a record matched by no other violist in history. She has performed as a soloist with many of the world’s most prominent orchestras: BBC Symphony, BBC Philharmonic, Boston Symphony, Hallé Orchestra, Rotterdam Philharmonic, Royal Concertgebow, Royal Philharmonic, Israel Philharmonic, Jerusalem Radio Orchestra, Tokyo Metropolitan, Montreal Symphony, Toronto Symphony, and countless others. She also has performed as a soloist three times at the Promenade concerts in London, including the Last Night of the Proms.
A landmark among her many CDs is her world premiere recording on viola of the Elgar Concerto with the Royal Philharmonic, a set of the complete Bach Cello Suites which includes performances of Bach’s Chaconne and Chromatic Fantasy. Born in Israel, Rivka trained at the Music Academy of Tel Aviv with the great violist and composer Oedoen Partos. At the age of 23, she became a member of the Israel Philharmonic. Rivka moved to Canada in the mid-1970s where she began her solo career. Her present home is in London, England. She is also an inspiring teacher who draws students from all over the world to her classes at London’s Trinity Laban College of Music and Dance. Rivka plays a viola made by the renowned maker Otto Erdesz.
25
Lionel and Lillian Tertis
Lionel Tertis by George Herbert Buckingham Holland oil on canvas, 1962, National Portrait Gallery
LIONEL TERTIS (1876-1975) full and deep sonority he loved; indeed, he developed a design for a new viola to combine almost cello-like tone with ease of handling.
The Wimbledon Music Festival is honoured to be supported by the Tertis Foundation, which was founded in 2003 by the late Lillian Tertis in memory of her husband, Lionel, the famous viola player. Lionel and Lillian lived in Marryat Road, Wimbledon after their marriage in 1959 until 1975 when he died. Lillian continued to live their flat until 2005. They were both professional musicians as she played the cello and the piano, whilst he had had a famous, international career and his advice and expertise were sought by many musicians, both students and advanced professionals, right up to the end of his life.
The rise of the viola from obscurity to prominence was largely Tertis’s achievement; he also begged and bullied new repertoire for his viola from the foremost composers of the day. Unswerving idealism and sheer determination were the hallmarks of Tertis’s character: if he met a passage that he found difficult he would practise it wearing his winter overcoat so that it might seem easier in performance.
Lionel and Lillian often played together long after his retirement from the public arena for the entertainment of friends and indeed celebrated their wedding with a short concert for the wedding guests.
In 1964 Tertis was awarded the coveted Gold Medal of the Royal Philharmonic Society, thus achieving a unique confirmation of his eminence; he had progressed from self-taught beginnings through orchestral ranks to ultimate acceptance as a true viola soloist. According to the late Sir John Barbirolli “he is still the father of all viola players”.
Lillian set up the Tertis Foundation with the intention of preserving and perpetuating Lionel’s name and reputation and the Board of Trustees have always done their utmost to run her charity in the spirit in which it was founded.
Christopher Wellington Trustee of the Tertis Foundation
One name still dominates the viola world – indeed ‘bestrides it like a Colossus’ – that of Lionel Tertis. Though small in stature, he chose a very large viola to create the 26
27
FRIDAY 20 NOVEMBER
SOLEM QUARTET
Sponsored by Stephen & Vicky Streater
Amy Tress violin William Newell violin Stephen Upshaw viola Stephanie Tress cello
The quartet is composed in six movements rather than the conventional four. In its original form with the Grosse Fuge as finale, this was the longest of Beethoven’s quartets. The fugue was found at first incomprehensible and almost unplayable and Beethoven was at length persuaded to substitute a shorter, lighter, ‘easier’ finale; this was the last thing he ever completed. Although it seems surprising that Beethoven agreed to this compromise, the artistic reason for it could have been deeper than a mere desire to please, or a lack of confidence in his own judgement. Such indecisions had plagued him before, in the Fifth and Ninth symphonies, in Fidelio, or in the appalling cuts and shifts he suggested in the Hammerklavier Sonata. Publishing the Grosse Fuge separately as op.133 may well have been done in the hope that it would eventually find its way back to its original place, as it now often does, for it is widely and rightly felt that the small ‘substitute’ finale cannot counterweigh the great first movement.
Ludwig van Beethoven Quartet no. 13 in B flat major, op. 130 i. Adagio, ma non troppo – Allegro ii. Presto iii. Andante iv. Alla danza tedesca v. Cavatina vi. Grosse Fuge (op. 133)
28
Listening to the first movement, notice the mysteriously disembodied effect of the whole second group in the strange key of G flat, approached abruptly, and not grounded in a tonality at all. The same thing happens in the Grosse Fuge, even more mysteriously, when everything slips into a wonderful animated cloud of soft G flat. These two events are crucial. The work as a whole also has something in common with a Bach partita; Beethoven in his later works searches the past ever more deeply. The first movement is followed by a very fast and short scherzo in the tonic minor; the next movement, ambling gently and delicately, with many original quartet textures, is in the related key of D flat. Then comes the simple Alla danza tedesca, but suddenly in the strange key of G major, as far as possible away from D flat. This violent dissociation, expressed in the simplest language, is the secret heart of the work. From G it is an easy step to E flat, where we find the touching Cavatina, and the note G at the top of its last chord begins both the Grosse Fuge and the second finale. The fugue is a mighty struggle stretching mind and sinews to the limit, and besides the great G flat dissociation it contains, it also makes another such rift by means of the key of A flat, the ‘contradictory’ flat seventh of the tonic B flat. But at length, with an unmistakable sense of release, it breaks through into sunlight – the air is all at once fresh and free and the music takes flight. Notes by Dr Robert Simpson by kind permission of the Robert Simpson Society
The Solem Quartet has established itself as one of the most innovative and adventurous quartets of its generation. Since winning the 2014 Royal Over-Seas League Ensemble Competition they have enjoyed a busy concert schedule, ranging from international tours to performances at venues such as London’s Wigmore and Queen Elizabeth Halls, Bridgewater Hall in Manchester and Oxford’s Holywell Music Room. Alongside this, their groundbreaking series Solem Lates has seen the Quartet rise to prominence as leading exponents of new music, working closely with living composers in pioneering multimedia performances. In their latest Solem Lates project they perform the live score to screenings of Yorgos Lanthimos’s 2015 film The Lobster, in collaboration with Picturehouse Cinemas. In both their regular concerts and Solem Lates projects, the Quartet presents daring feats of virtuosity within thoughtfully curated programmes. Building on their success in performing Bartók’s String Quartet no. 3 from memory, the 2020-2021 season will see the launch of Beethoven Bartók Now, in which they will perform all six of Bartók’s string quartets alongside Beethoven’s late quartets. The series will also feature six commissions from leading composers, bringing new life and relevance to these iconic masterpieces. The Solem Quartet has benefited from inspirational teaching from a number of the world’s greatest chamber musicians including Gábor Takács-Nagy, Thomas Adès, Michal Kaznowski, Gerhard Schulz, Krysia Osostowicz and Richard Ireland. They have attended IMS Prussia Cove and the European Chamber Music Academy and were chosen for the 2014-15 Chamber Studio Mentorship with renowned cellist Christoph Richter. In 2016-17 they were selected as both Tunnell Trust Artists and Park Lane Group Artists. The Quartet takes great pride in its educational work. From 2015-17 they held the Junior Fellowship in Chamber Music at the Royal Northern College of Music and since 2016 they have been Quartet in Residence at the University of Liverpool. Their immersive concerts and workshops have taken them to mainstream and special needs schools through Live Music Now and they have performed or given seminars at Leeds, Manchester, Liverpool and Cardiff Universities. They are also Ensemble in Residence at Aberystwyth MusicFest. Originally formed at the University of Manchester in 2011, the Solem Quartet takes its name from the university’s motto arduus ad solem – ‘striving towards the sun’.
29
SATURDAY 21 NOVEMBER
EXPLORING BEETHOVEN’S GENIUS A discussion exploring Beethoven’s genius with specific reference to his 32 piano sonatas Piers Lane Tama Matheson Jessica Duchen Anthony Wilkinson
In this wide-ranging conversation, artists Piers Lane and Tama Matheson, author Jessica Duchen and Festival Director Anthony Wilkinson discuss Beethoven’s character, his deafness, his uncompromising attitude both to his art and his place in society, as well as the demands of making art, the nature of creativity, and how deeply the arts have been impacted by recent events. They move on to explore Ludwig van Beethoven and the nature of his genius, surveying the events of his incredible life, and examining his creative drive, his passions, and his unimpeachable artistic integrity. 30
Tama Matheson is Artistic Director of Poesis: Words and Music in London, as well as Artistic Director of the Brisbane Shakespeare Festival in Australia.
London-based Australian pianist Piers Lane has a worldwide reputation as an engaging, searching and highly versatile performer, at home equally in solo, chamber and concerto repertoire. Recent seasons saw him perform three concerti at Carnegie Hall, and world premieres of Carl Vine’s second Piano Concerto and Double Piano Concerto Implacable Gifts, both written for him.
Tama has written and produced several plays, including Bright Stars Shone for Us which has been shortlisted for the 2020 Royal Philharmonic Society Awards. He won ‘Best Production’ for Amadeus, and ‘Best Supporting Actor’ for The Pillowman at the Matilda Awards; ‘Outstanding Director’ for Metamorphosis, at the Opera Chaser Awards in Melbourne; and his production of Der Rosenkavalier won four more Opera Chaser awards. His play, When the World Was Wide, was nominated for 3 Matilda Awards in 2020, and his Metamorphosis was nominated for Best Opera at the Helpmanns in Sydney in 2019.
Five times soloist at BBC Proms, Piers Lane’s concerto repertoire exceeds one hundred works and he has recorded over sixty CDs, primarily with Hyperion Records. His 2020 releases include piano concertos by Bliss, Rubbra, Bax and Walter Braunfels, a British sonata disc with Tasmin Little, and an eleventh disc of piano quintets with the Goldner Quartet.
Festival Director Anthony Wilkinson has had a long association with music and the lives of musicians. He worked with Anthony Burgess on a feature film screenplay Uncle Ludwig about Beethoven’s relationship with his nephew Karl, which dominated much of the last years of the composer’s life.
Jessica Duchen has recently published a novel Immortal based on the latest startling research into the story of Beethoven’s mysterious ‘immortal beloved’ which presents an intriguing new light on Beethoven’s character, and his piano sonatas. She was classical music correspondent for The Independent from 2004 to 2016, and has written for The Guardian, The Observer, The Sunday Times, BBC Music Magazine, among others. She now writes for and about music, dividing her time between fiction, stage works and journalism.
Anthony wrote and directed several television dramas about composers during his years with BBC TV Music and Arts, including Siegfried Idyll about Richard Wagner; Music of Exile about Bohuslav Martinů; and Papillons about Robert and Clara Schuman. His passion for music continues with bringing the best music and musicians to create an outstanding music festival in Wimbledon; and the fire burns bright in his quest to build a great international concert hall in Wimbledon, designed by Frank Gehry. 31
SUNDAY 22 NOVEMBER
FLORILEGIUM FATHER, SON & GODFATHER
Supported by
Ashley Solomon flute/recorder Bojan Čičič violin Sarah McMahon cello Julian Perkins harpsichord
32
Georg Philipp Telemann Concerto no. 2 in D major (from Paris Quartet) Johann Sebastian Bach Sonata for Violin in C major BWV 1004 Carl Philipp Emanuel Bach Fantasia in C major H.291 Johann Sebastian Bach Trio Sonata in C minor (from Musical Offering BWV 1079) Georg Philipp Telemann Fantasia no. 12 in G minor Johann Sebastian Bach Cello Suite no. 2 in D minor Carl Philipp Emanuel Bach Trio Sonata in G major Wq 144 Regular performances in some of the world’s most prestigious venues have confirmed Florilegium’s status as one of Britain’s most outstanding period instrument ensembles. Since their formation in 1991 they have established a reputation for stylish and exciting interpretations, from intimate chamber works to large-scale orchestral and choral repertoire, working as an instrumental ensemble and also in collaboration with some outstanding solo singers and choirs. Concert venues have included Sydney Opera House, Esplanade (Singapore), Teatro Colon (Buenos Aires), Concertgebouw (Amsterdam), Konzerthaus (Vienna), Beethoven-Haus (Bonn), Handel-Haus (Halle) and Frick Collection (New York). Among the numerous residencies Florilegium have held was Ensemble-in-Residence at London’s Wigmore Hall from 1998 to 2000, performing several series of concerts each year and becoming actively involved in the Hall’s education work. Since September 2008 they have been Ensemble in Association at the Royal College of Music, working regularly each term with students on both period and modern instruments in the area of baroque chamber music. Florilegium’s recordings for Channel Classics have been awarded many prizes including two Gramophone Award nominations, three BBC Music Magazine awards, numerous Editor’s Choice from Gramophone, and half a dozen Diapasons d’Or and Chocs de la Musique in France, and their Bach Cantatas disc with Johannette Zomer was awarded an Edison Award, Dutch music’s most prestigious prize. More recent CDs include Handel’s German Arias & Trio Sonatas with the Canadian soprano Gillian Keith, and two further double CDs of Telemann’s Essercizii Musici and music from the Court of Frederick the Great, King of Prussia. This most recent CD was inspired by James Gaines’s novel An Evening in the Palace of Reason and includes music by C.P.E. Bach, Quantz, Graun, Benda, Fasch and Muthel. 33
Music Scholarships at 11+ and 16+
@Music_WHS
Registered charity no.306983
MUSICAL EXCELLENCE • Music & Choral Scholarships available • Professional standard Performing Arts Centre • Over 30 orchestras, ensembles & choral groups • Extensive coach network
Hampton School, Hanworth Road, Hampton TW12 3HD T 020 8979 9273 E admissions@hamptonschool.org.uk
www.hamptonschool.org.uk
We look forward to seeing you in November 2021 with live performances by Lucy Crowe, Christine Rice, Toby Spence, Brindley Sherratt, Nikolai Demidenko, Florilegium, London Mozart Players, the Julian Bliss Septet and more.
“One of the most distinguished festivals in the UK, possibly the world.” Musical Opinion “Unmissable events.” BBC Music Magazine “One of the capital’s major autumn events, and it seems to get better and better.” Evening Standard
www.wimbledonmusicfestival.co.uk © 2020 Wimbledon International Music Festival. All rights reserved. Wimbledon International Music Festival, WIMF and the Wimbledon International Music Festival logo are among the trademarks or registered trademarks owned by or licensed to Wimbledon International Music Festival. All other marks are the property of their respective owners. Any redistribution or reproduction of part or all of the contents in any form is prohibited.
