60th SEASON Cadogan Hall, 5 Sloane Terrace, London SW1X 9DQ Box office: 020 7730 4500, www.cadoganhall.com (booking fees apply)

Etiquette Smoking: All areas of Cadogan Hall are non-smoking areas. Food and beverages: You are kindly requested not to bring food and other refreshments into Cadogan Hall. Cameras and electronic devices: Video equipment, cameras and tape recorders are not permitted. Please ensure all pagers and mobile phones are switched off before entering the auditorium. Interval and timings: Intervals vary with each performance. Some performances may not have an interval. Latecomers will not be admitted until a suitable break in the performance. Consideration: We aim to deliver the highest standards of service. Therefore, we would ask you to treat our staff with courtesy and in a manner in which you would expect to be treated.

Food and Beverages Culford Room: The house wines, champagne and soft drinks are available from the bars in the Culford Room at all concerts. Oakley Bar: Concert goers may enjoy a wide selection of champagnes, spirits, red and white wines, beers and soft drinks from the Oakley Room Bar. There are also some light refreshments available. Gallery Bar: Customers seated in the Gallery can buy interval drinks from the Gallery Bar at some concerts.

Access Cadogan Hall has a range of services to assist disabled customers, including a provision for wheelchair users in the stalls. Companions of disabled customers are entitled to a free seat when assisting disabled customers at Cadogan Hall. Please note that companion seats not sold 48 hours prior to any given performance will be released for general sale. Wheelchair users: If you use a wheelchair and wish to transfer to a seat, we regret we may not be able to provide a member of staff to help you physically. However, we will arrange for your wheelchair to be taken away and stored. A lift is located to the right once inside the box office reception allowing access to a lowered box office counter. Foyer areas are on the same level as the box office and the foyer bar (Caversham Room) is accessed via a wide access lift. A member of staff will help you with your requirements. Stalls are accessed via a wide lift, as are adapted toilet facilities. Please note that there is no wheelchair access to the Gallery seats. Moeran Serenade

Ravel Piano Concerto in G Soloist: Alexander Ullman

Interval – 20 minutes

Vaughan Williams Symphony no.5

Russell Keable conductor Alan Tuckwood leader

Monday 25 January 2016, 7.30pm Cadogan Hall

Cover image: Illustration from John Bunyan’s The Pilgrim’s Progress: ‘Christian loses his burden at the cross’ TONIGHT’S PROGRAMME

ERNEST JOHN MOERAN 1894–1950

Serenade

Prologue: Allegro Air: Lento, ma non troppo Intermezzo: Allegretto Galop: Presto Minuet: Tempo di minuetto Rigadoon: Con brio, ma tempo moderato — Forlana: Andante con moto Epilogue: Allegro un poco maestoso

Ernest John Moeran, or Jack as he liked to be known to his friends, was brought up in Bacton, a village on the Norfolk coast, where his father, a Protestant priest from County Cork, was vicar. In 1913 he enrolled at the Royal College of Music but left at the outbreak of the First World War to join the Norfolk Regiment, becoming an officer in 1915. He was seriously wounded in 1917, when several pieces of shrapnel Ernest John Moeran were lodged too near to his brain for removal. This direct experience of the horrors of the Western Front affected him for the rest of his life and may account for his alcoholism. He was only fifty-five when he died in Ireland, after falling into the sea during a violent Atlantic gale. The Serenade was one of Moeran’s last works, completed in 1948, but the Minuet and Rigadoon were salvaged, with minor modifications, from an earlier work, the Farrago Suite of 1932, which he had withdrawn. Basil Cameron conducted the first performance of the Serenade at a Promenade Concert in September 1948. ‘The audience was delighted,’ said the critic Clinton Gray-Fisk, ‘and Mr Moeran was recalled several times to the platform.’ The Intermezzo and Forlana were omitted from the original printed score as Moeran’s publisher thought the work too long, but they were restored in a new edition of 1996. The Serenade is very much in the tradition of Ravel’s Le tombeau de Couperin of 1917 (which also includes a minuet, a rigadoon and a forlana) and Peter Warlock’s Capriol Suite of 1926 in looking to earlier dance forms for its inspiration, and Moeran created a work of great clarity and wit. The Prologue and Epilogue suggest the Baroque style of Handel’s ceremonial music, whereas the Rigadoon and Galop show the influence of the Renaissance via Warlock. TheAir , scored for strings only, has a simple yet beautiful melody, whilst the Minuet looks back to the style of some of Moeran’s earlier works.

4 TONIGHT’S PROGRAMME

MAURICE RAVEL 1875–1937

Piano Concerto in G

Allegramente Adagio assai Presto

If Ravel’s G major Piano Concerto is the divertissement he originally planned it is certainly a ‘divertissement de luxe’, his favourite expression of artistic praise. At first he intended it as a vehicle for him to play on a world tour and spent many hours practising Liszt and Chopin to improve his technique. In the end he realised that it was unrealistic to try to become a virtuoso in his fifties, so he instead wrote the work for the pianist Marguerite Long, to whom it is dedicated. In the meantime he had accepted a commission for a left-hand piano concerto from Paul Wittgenstein, brother of the philosopher, who had lost his right arm in the First World War. So by the end of 1929 he was working on both concertos at the same time, causing him much stress and anxiety. Although the Piano Concerto for the Left Hand, a much Maurice Ravel darker work, was completed in August 1930, it wasn’t performed by Wittgenstein until 5 January 1932 in Vienna. In the end this was only nine days before the first performance of the G major Concerto, which had been completed over a year later, in the Salle Pleyel in Paris, played by Marguerite Long with Ravel conducting the Orchestre Lamoureux. Four days after this first performance Long and Ravel took the Concerto on a European tour for four months, which included concerts in Brussels, Vienna, Bucharest, Prague, London, Warsaw, Berlin, Amsterdam and Budapest. It was nearly always well received, with the last movement often being encored. During their travels Long experienced Ravel’s legendary absent-mindedness: ‘On every trip the same scenes repeated themselves: he lost his luggage, his watch, his train ticket, mine, kept his letters in his pocket, mine too...’, but this confusion may also have been an early sign of the illness that was to stop him composing. Sadly the G major Concerto was to be his last major work. Ravel said that he took the piano concertos of Mozart and Saint-Saëns as his models and the G major Concerto certainly follows the Classical pattern of a first movement in sonata form, a lyrical middle movement and a fast, punchy finale. He also expressly stated that he didn’t want to write for the piano against the orchestra, as in many Romantic concertos, but with it. The opening movement begins with the crack of a whip and the first theme has a popular flavour with bluesy harmonies; a later one is like the distant echo of a languorous dance.

5 TONIGHT’S PROGRAMME

In contrast to the dazzling fireworks of the two outer movements, the Adagio is a tranquil meditation which opens on the piano alone, with a long, flowing melody over a steadily pulsing left hand. But in spite of its apparent spontaneity this melody cost Ravel a great deal of effort, writing it ‘bar by bar’ with the slow movement of Mozart’s Clarinet Quintet as his model. The theme is then developed until the piano embarks on florid figuration in the right hand over the original accompaniment figure, and continues to weave arabesques against a simple counterpoint in the orchestra, finally bringing the movement to an end with a prolonged trill. The short final Presto is a frenzied galop. Piano and orchestra chase one another in a blaze of brilliant virtuosity with rapid piano chords bouncing off a side-drum roll, Gershwin-like shrieks from the clarinet and trombone slides.

6 TONIGHT’S PROGRAMME

RALPH VAUGHAN WILLIAMS 1872–1958

Symphony no.5

Preludio: Moderato Scherzo: Presto misterioso Romanza: Lento Passacaglia: Moderato

In 1908, at the age of thirty-six and already an established composer, Vaughan Williams gave up his work and career for three months to study in Paris with Ravel, who was three years his junior. Ravel’s approach to orchestration (they looked at scores by Borodin and Rimsky-Korsakov) was a breath of fresh air after the more Teutonic English teaching of the time, and they became good friends. Ravel did his best to promote Vaughan Williams’s work in France and stayed at his home in Chelsea when visiting London. Despite the fact that both composers were approaching middle age at the outbreak of war in 1914, they volunteered for action, Ravel driving lorries and Vaughan Williams driving ambulances. As with Moeran, Ralph Vaughan Williams it is hard to underestimate the effect on the rest of their lives and music of this direct experience of the Western Front. But it was in the middle of the Second World War, in June 1943, that Vaughan Williams conducted the first performance of his Fifth Symphony at a Promenade Concert in the Royal Albert Hall with the London Philharmonic Orchestra. His previous symphony had been harsh and dissonant; this was much more serene. But he had no time for those who tried to interpret the two works: ‘I feel very angry with critics who will have it that my Fourth Symphony “means” war, and my Fifth “means” peace’. And, because the composer was seventy-one, the work was also seen by some as his farewell to the world, when in fact he was to go on to write four more symphonies and many other works. Although the Fifth Symphony was composed between 1938 and 1943 its roots lay much further back. In 1906 Vaughan Williams had written music for a dramatisation of scenes from John Bunyan’s The Pilgrim’s Progress and he spent much of his career struggling to find a way to turn the book into an opera, or ‘Morality’ as he preferred to call it. He wrote a considerable amount of music for it between 1925 and 1936, when he became convinced that it would never be completed. However, like all composers, he didn’t want to waste good ideas, so he reused some of the music in the Fifth Symphony. Most of the common material appears in the Romanza, with some in the first and last movements but none in the Scherzo. In the end he did complete The Pilgrim’s Progress, which was first produced at Covent Garden in 1951.

7 TONIGHT’S PROGRAMME

The Fifth Symphony is ‘dedicated without permission to Jean Sibelius’, a composer whom Vaughan Williams much admired, and, like Sibelius’s Fifth Symphony, the work opens with a horn call which haunts the Preludio. This is followed by two short motifs: one in the cellos and basses which revolves around the same note, and the other a rising theme, with a characteristic Vaughan Williams shape, in the violins. These are expanded until a soaring change to E major for the second subject, a dramatic moment of exultation which has been aptly likened to the sun breaking through the clouds. The faster middle section is based on a descending three-note figure passed from one woodwind instrument to another like a sinister warning. The music flares up, reaching a rather Sibelian climax, and the horn call returns. This leads to a powerful restatement of the second subject by the full orchestra, dominated by the brass, after which the music subsides, leaving the last quiet word to the sinister warning note and the horn call. The Scherzo comes second for the first time in a Vaughan Williams symphony. This is an elusive, feathery movement, very fast and mostly very soft, but with pungent explosions like spiteful barbs, which have been compared to ‘gargoyles with their tongues out’. It is based on five ideas: one in a singing style; one on oboe and cor anglais with tart grace notes; one ‘lilting like some etherealised folk dance’; a chorale for trombones; and, finally, a chirpy woodwind theme. The music disappears as mysteriously as it began. The Romanza slow movement forms the heart of the Symphony and is one of Vaughan Williams’s finest inspirations. The manuscript was originally headed with a quotation from Bunyan: ‘Upon that place there stood a cross and a little below a sepulchre. Then he said, “He hath given me rest by his sorrow and life by his death”.’ In the opera the Pilgrim sings these final words to the cor anglais tune, which forms the first subject after the opening sixteen-part string chords, where time almost seems to stand still. The more agitated central part of the movement is the Pilgrim’s ‘Save me Lord! My burden is greater than I can bear’. But this anguish is soothed by the richly scored return of the opening theme, a great flood of sound creating another moment of intense exultation. This high-point of English music dies away with each section of the orchestra meditating on what has passed in a mood of calm and tranquillity. The last movement, Passacaglia, is a set of variations over a repeating bass-line. The broad, spacious theme is announced by the cellos and there are ten variations before the trombones have a vigorous counter-melody. A lighter variation of the main theme, like a folk dance, leads to an elaborate contrapuntal passage which is cut off by a fervent return of the horn call that opened the work. But the Symphony ends in a mood of serene radiance with the strings climbing ever upwards, entry after entry, in an ecstatic vision of Bunyan’s ‘Celestial City’.

© Fabian Watkinson 2016

8 ARTISTS’ BIOGRAPHIES BIOGRAPHIES

Russell Keable conductor

Russell Keable has established a reputation as one of the UK’s most exciting musicians. As a conductor he has been praised in the national and international press: ‘Keable and his orchestra did magnificently’, wrote the Guardian; ‘one of the most memorable evenings at the South Bank for many a month’, said the Musical Times. He performs with orchestras and choirs throughout the British Isles, has conducted in Prague and Paris (concerts filmed by French and British television) and recently made his debut with the Royal Oman

Symphony Orchestra in Dubai. As a Photo © Sim Canetty-Clarke champion of the music of Erich Korngold he has received particular praise: the British première of Korngold’s Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a world première of music from Korngold’s film score for The Sea Hawk. Keable trained at Nottingham and London universities; he studied conducting at London’s Royal College of Music with Norman Del Mar, and later with George Hurst. For over thirty years he has been associated with Kensington Symphony Orchestra, one of the UK’s finest non-professional orchestras, with whom he has led first performances of works by many British composers (including Peter Maxwell Davies, John Woolrich, Robin Holloway, David Matthews, Joby Talbot and John McCabe). Keable has also made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York. He is recognised as a dynamic lecturer and workshop leader. He has the rare skill of being able to communicate vividly with audiences of any age (from schoolchildren to music students, adult groups and international business conferences). Over five years he developed a special relationship with the Schidlof Quartet, with whom he established an exciting and innovative education programme. He also holds the post of Director of Conducting at the University of Surrey. Keable is also in demand as a composer and arranger. He has written works for many British ensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of their millennium celebration, was premièred in July 2000. He has also composed music for the mime artist Didier Danthois to use whilst working in prisons and special needs schools.

9 ARTISTS’ BIOGRAPHIES ARTISTS’ BIOGRAPHIES

Alexander Ullman piano

Born in 1991 in London, Alexander Ullman previously studied at the Purcell School with William Fong and the Curtis Institute of Music in Philadelphia with Leon Fleisher, Ignat Solzhenitsyn and Robert McDonald, and is currently studying at the Royal College of Music with Ian Jones and Dmitri Alexeev. He also studied with Eliso Virsaladze at the Scuola di Musica di Fiesole, Florence. In 2011 he won first prize at the Liszt Competition in Budapest and in 2014 he was selected for representation by Young Classical Artists Trust (YCAT).

Alexander has given concerts throughout Photo © Kaupo Kikkas Europe, Asia and America; highlights have included recitals at the Leipzig Gewandhaus, Archives Nationales (Paris), Louisiana Museum of Modern Art (Copenhagen), Auditorio de la Diputación de Alicante, La Jolla Festival of the Arts (California), and concerts in the UK, Spain, Germany and France with the Dover Quartet. Over the last year Alexander has performed Chopin’s Piano Concerto no.2 with Vladimir Ashkenazy at the Royal College of Music, Tchaikovsky’s Piano Concerto no.1 with the Orchestra Filharmonica Marchigiani in Italy and Liszt’s Piano Concerto no.1 with the Cardiff Philharmonic Orchestra at St David’s Hall. He returned to China (Gulangyu, Shanghai and Beijing) and the USA, appeared at the Festspiele Mecklenburg-Vorpommern in Germany, and gave recitals at the Théâtre des Variétés in Monaco, Ghione Theatre in Rome and the Bath International and Beaumaris festivals. Other highlights include a European tour with the Dover Quartet. Future engagements include recitals and concertos in Milan, Munich, Leipzig, Ankara and Athens. He returns to Wigmore Hall and also appears in the Nottingham International Piano Series. As a soloist Alexander has appeared with the Philadelphia Orchestra at the Mann Center, New Jersey Symphony Orchestra, Fort Worth Symphony Orchestra, Montréal Symphony Orchestra, Oxford Philomusica, Southbank Sinfonia, Orchestra Filarmonica Marchigiana, Danubia Orchestra and Budapest Radio Orchestra. He has been broadcast by BBC Radio 3, Radio France and MDR Classik. During his studies Alexander has won numerous awards at international competitions, including first prize at the Lagny-sur-Marne International Competition (2013) and the Tunbridge Wells International Young Concert Artists Competition (2012), and second prize at the Isidor Bajić Memorial International Competition (2014). Alexander Ullman is grateful for support from Help Musicians UK and is a Boise Scholar.

10 ARTISTS’ BIOGRAPHIES

Kensington Symphony Orchestra

Founded in 1956, Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest non-professional orchestras in the UK. Its founding aim — ‘to provide students and amateurs with an opportunity to perform concerts at the highest possible level’ — continues to be at the heart of its mission. KSO has had only two Principal Conductors — the founder, Leslie Head, and the current incumbent, Russell Keable, who recently celebrated his thirtieth year with the orchestra. The dedication, enthusiasm and passion of these two musicians has shaped KSO’s image, giving it a distinctive repertoire which sets it apart from other groups. Revivals and premières of new works frequently feature in the orchestra’s repertoire alongside the major works of the nineteenth, twentieth and twenty-first centuries. World and British premières have included works by Arnold Bax, Havergal Brian, Nielsen, Schoenberg, Sibelius, Verdi and Bruckner. Russell Keable has aired a number of unusual works, as well as delivering some significant musical landmarks — the London première of Dvořák’s opera Dimitrij and the British première of Korngold’s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as ‘a feast of brilliant playing’). In January 2004 KSO, along with the London Oriana Choir, performed a revival of Walford Davies’s oratorio Everyman, a recording of which is available on the Dutton label. Contemporary music has continued to be the life-blood of KSO. An impressive roster of composers working today has been represented in KSO’s programmes, most recently including Magnus Lindberg, Charlotte Bray, Benedict Mason, Oliver Knussen, Thomas Adès, Brett Dean, Anne Dudley, Julian Anderson, Rodion Shchedrin, John Woolrich, Joby Talbot, Peter Maxwell Davies and Jonny Greenwood. In December 2005 Errollyn Wallen’s Spirit Symphony, performed with the BBC Concert Orchestra and broadcast on BBC Radio 3, was awarded the Radio 3 Listeners’ Award at the British Composer Awards. In 2014 KSO performed the world première of Stephen Montague’s From the Ether, commissioned by St John’s Smith Square to mark the building’s 300th anniversary. During the 2014/15 season KSO was part of Making Music’s Adopt a Composer scheme, collaborating with Seán Doherty on his work Hive Mind. From the very beginning KSO has held charitable aims. Its first concert was given in aid of the Hungarian Relief Fund, and since then the orchestra has supported many different charities, musical and non-musical. In recent years it has developed links with the Kampala Symphony Orchestra and Music School under its KSO2 programme, providing training, fundraising and instruments in partnership with the charity Musequality. In 2013 and 2015 the orchestra held Sponsored Play events in Westfield London shopping centre, raising over £30,000 for the charity War Child. The orchestra also supports the music programme at Pimlico Academy, its primary rehearsal home. The reputation of the orchestra is reflected in the quality of international artists who regularly appear with KSO. In recent seasons soloists have included Sir John Tomlinson, Nikolai Demidenko, Richard Watkins, Jean Rigby and Matthew Trusler; and the orchestra enjoys working with the new generation of up-and-coming musicians, including BBC Young Musician of the Year 2014 Martin James Bartlett and Young Classical Artists Trust artists Ji Liu and Richard Uttley. The orchestra works annually with guest conductors including most recently Nicholas Collon, Alice Farnham, Andrew Gourlay and Jacques Cohen.

11 YOUR SUPPORT FRIENDS OF KSO

To support KSO you might consider joining our very Patrons popular Friends Scheme. There are three levels of Kate Bonner membership and attendant benefits: John and Claire Dovey Bob and Anne Drennan

Malcolm and Christine Dunmow Friend Mr and Mrs G Hjert Unlimited concessionary rate tickets per concert, priority Daan Matheussen bookings, free interval drinks and concert programmes. Jolyon and Claire Maugham David and Mary Ellen McEuen Michael and Jan Murray Premium Friend Linda and Jack Pievsky A free ticket for each concert, unlimited guest tickets at Neil Ritson and family concessionary rates, priority bookings, free interval drinks Kim Strauss-Polman and concert programmes. Keith Waye

Premium Friends Patron Sue Astles Two free tickets for each concert, unlimited guest tickets at David Baxendale concessionary rates, priority bookings, free interval drinks Claude-Sabine and Fortuné Bikoro and concert programmes. Dr Michele Clement and Dr Stephanie Munn All Friends and Patrons can be listed in concert John Dale programmes under either single or joint names. Alastair Fraser We can also offer tailored Corporate Sponsorships for Michael and Caroline Illingworth companies and groups. Please ask for details. Maureen Keable Nick Marchant Cost of membership for the sixtieth season is: Richard and Jane Robinson Friend ...... £60 Premium Friend . . . . . £125 Friends Patron ...... £220 Anne Baxendale Robert and Hilary Bruce To contribute to KSO by joining the Friends please contact Yvonne and Graham Burhop David Baxendale on 020 8653 5091 or by email at George Friend [email protected]. Robert and Gill Harding-Payne Rufus Rottenberg Paul Sheehan

12 YOUR SUPPORT OTHER WAYS TO SUPPORT US

Sponsorship and Donations

One way in which you, our audience, can help us very effectively is through sponsorship. Anyone can be a sponsor, and any level of support — from corporate sponsorship of a whole concert to individual backing of a particular section or musician — is enormously valuable to us. We offer a variety of benefits to sponsors tailored especially to their needs, such as programme and website advertising, guest tickets and assistance with entertaining. For further details about sponsoring KSO, please speak to any member of the orchestra, email [email protected] or call David Baxendale on 020 8653 5091. As a charity, KSO is able to claim Gift Aid on any donations made to the orchestra. Donating through Gift Aid means KSO can claim an extra 25p for every £1 you give, at no extra cost to you. Your donations will qualify as long as they’re not more than four times what you have paid in tax in that financial year. If you would like to make a donation, or to inquire about Gift Aid, please contact the Treasurer at [email protected] for further information.

Leaving a Legacy: Supporting KSO for the next generation

Legacies left to qualifying charities —­ such as Kensington Symphony Orchestra — are exempt from inheritance tax. In addition, since April 2012, if you leave more than 10% of your estate to charity the tax due on the rest of your estate may be reduced from 40% to 36%. Legacies can be left for fixed amounts (‘specific’ or ‘pecuniary’ bequests) as either cash or shares, but a common way to ensure your loved ones are provided for is to make a ‘residuary’ bequest, in which the remainder of your estate is distributed to one or more charities of your choice after the specific bequests to your family and friends have first been met. Legacies, along with conventional donations, to KSO’s Endowment Trust allow us to better plan for the next fifty years of the orchestra’s development. If you include a bequest to KSO in your will, telling us you have done so will enable us to keep you informed of developments and, if you choose, we can also recognise your support. Any information you give us will be treated in the strictest confidence, and does not form any kind of binding commitment. For more information about leaving a legacy please speak to your solicitor or Neil Ritson, Chairman of the KSO Endowment Trust, on 020 7723 5490 or email [email protected].

13 YOUR SUPPORT

The KSO Website

To keep up-to-date with KSO information and events visit our website, where you can see upcoming concerts, listen to previous performances and learn more about the history of the orchestra. An easy way to contribute to KSO at no extra cost to yourself is via our website. A number of online retailers will pay us a small percentage of the value of your purchase when you visit their page through links on the KSO website.

www.kso.org.uk/shop

Mailing List Photo © Sim Canetty-Clarke

If you would like to receive news of our forthcoming concerts by email, please join our mailing list. Just send a message to [email protected] and we’ll do our best to keep you informed.

www.kso.org.uk/mailinglist

Social Media

See the most recent news and behind-the-scenes photos of the orchestra on our channels on Facebook and Twitter. Share KSO events and related articles with your friends and family in order to help us promote the orchestra on a wider scale. See below for our specific pages.

www.facebook.com/kensingtonsymphonyorchestra

www.twitter.com/KensingtonSO

14 TONIGHT’S PERFORMERS ORCHESTRA

First Violin Cello French Horn Music Director Alan Tuckwood Joseph Spooner Jon Boswell Russell Keable Jo Johnson Cat Muge Heather Pawson Bronwen Fisher Natasha Briant Trustees Helen Waites David Baxendale Trumpet Chris Astles Sabina Wagstyl Becca Walker Stephen Willcox David Baxendale Claire Dovey Annie Marr-Johnson John Hackett John Dovey Susan Knight George Walker Leanne Thompson Heather Pawson Helen Stanley Chris Wendl Nick Rampley Matthew Hickman Trombone Richard Sheahan Helen Ecclestone Double Bass Phil Cambridge Sabina Wagstyl Bianca Procino Stephanie Fleming Ken McGregor Erica Jeal Robin Major Endowment Trust Helen Turnell Andrew Neal Bass Trombone Robert Drennan Louise Ringrose Mark McCarthy Stefan Terry Graham Elliott Gisella Ferrari Judith Ní Bhreasláin Second Violin Sam Wise Timpani Nick Rampley David Pievsky Tommy Pearson Neil Ritson Francoise Robinson Flute Danielle Dawson Judith Jerome Percussion Event Team Elizabeth Bell Claire Pillmoor Tim Alden Chris Astles David Nagle Richard Souper Beccy Spencer Richard Sheahan Piccolo Simon Willcox Sabina Wagstyl Rufus Rottenberg Claire Pillmoor Jill Ives Harp Marketing Team Jeremy Bradshaw Oboe Bethan Semmens Jeremy Bradshaw Judith Ní Bhreasláin Charles Brenan Jo Johnson Jenny Davie Guy Raybould Kathleen Rule Cor Anglais Louise Ringrose Jovana Kosic Chris Astles Lea Goetz Membership Team Clarinet Juliette Barker Viola Claire Baughan David Baxendale Beccy Spencer Chris Horril Phil Cambridge Alex Tyson Robin Major Sonya Wells E flat Clarinet Tom Philpott Graham Elliot Programmes Philip Cooper Kathleen Rule Alison Nethsingha Bassoon Guy Raybould Nick Rampley Sally Randall Kriskin Allum Elizabeth Lavercombe Nick Macrae

15 60th SEASON

Saturday 12 March 2016, 7.30pm (St John’s Smith Square) With guest conductor Michael Seal BRITTEN Gloriana (Symphonic Suite) SHOSTAKOVICH Symphony no.10

Tuesday 17 May 2016, 7.30pm (St John’s Smith Square) JANÁČEK Suite: From the House of the Dead JUDITH WEIR Natural History (Soloist: Donna Lennard) MARTINŮ Symphony no.5

Monday 27 June 2016, 7.30pm (St John’s Smith Square) WALTON Scapino: A Comedy Overture BRITTEN Violin Concerto (Soloist: Fenella Humphreys) ELGAR Falstaff

Registered charity No. 1069620