DOCSLIB.ORG

Southbank Sinfonia at St John's Smith Square

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Southbank Sinfonia at St John's Smith Square Summer in the Square Southbank Sinfonia at St John’s Smith Square www.southbanksinfonia.co.uk www.sjss.org.uk Fri 23 Jul Sat 24 Jul Sun 25 Jul Principal Partner Summer in the Square 23 | 24 | 25Supporters July 2021 Welcome to St John’s Smith Square for the inaugural Summer in the Square festival. We’re thrilled to have you with us at the new home of Southbank Sinfonia and hope you thoroughly enjoy the music and summer atmosphere, as well as the odd glass of wine! Next year will be the twentieth anniversary of The festival usually welcomes distinguished guest Southbank Sinfonia and also of the Anghiari Festi- performers and also offers concerto opportunities val where - in normal times - the orchestra is resi- to current members of the orchestra with our col- dent in a small Italian village for a week of intense leagues David Corkhill and Eugene Lee directing music making, punctuated with pizzas and Pro- concerts. All of those features are to be enjoyed secco in a very sociable atmosphere. this weekend with our dear friend Ruth Rogers opening the festival playing Beethoven’s Violin Shared by a few hundred supporters, visiting for Concerto in an all-Beethoven concert, compensat- their annual fix of glorious music in a beautiful set- ing for the pandemic denying his due celebration ting, the festival is an opportunity for players and last year; and our long-term collaborator, pianist supporters to get to know each other, both from Tom Poster brings events to a celebratory close the stage, which is placed in the middle of a piaz- with the jazz-infused Piano Concerto by Ravel. za, as well as in the surrounding bars afterwards. From personal experience, it’s never too long be- We recurringly tell our musicians to embrace all fore conversation with Italians turns to the subject that comes their way and to make the most of their of food or wine. The Anghiari Festival is certainly experiences during their annual fellowship with co-fuelled with music and food, so we have ex- Southbank Sinfonia, so when the pandemic pre- tended the portico of St John’s for Summer in the vented us from going to Italy this year, we sought Square and hope you will join us at a reception to make a virtue out of necessity. around one of the concerts. Happily, in April this year, Southbank Sinfonia Let’s hope we can reconvene again next year merged with St John’s Smith Square, so we de- in Tuscany and London to celebrate in style the cided to bring the ‘mountain to Mohammed’ and twentieth anniversaries of the Anghiari Festival create a mini festival in this extraordinary corner and of Southbank Sinfonia. of London, so near the beating heart of the capital yet so tranquil. We will also be streaming the per- Please do enjoy the festival, and if it moves you, formances online so that our friends in Italy (and we would be incredibly grateful for your support. elsewhere around the world) can enjoy them too. Without which none of this would be possible. Simon & Richard Simon Over & Richard Heason Co-Directors Southbank Sinfonia at St John’s Smith Square Summer in the Square What’s on Friday 23 July 2021 7pm | £15 Ludwig van Beethoven Violin Concerto in D Simon Over conductor Ludwig van Beethoven Symphony No.5 Ruth Rogers violin Saturday 24 July 2021 1pm | £10 Pyotr Ilyich Tchaikovsky Serenade for Strings Eugene Lee director/violin Astor Piazzolla ‘Spring’ from Four Seasons of Buenos Aires Joseph Haydn Poco adagio - Cantabile from String Quartet in C ‘Emperor’ Saturday 24 July 2021 7pm | £15 Felix Mendelssohn Overture David Corkhill conductor to ‘A Midsummer Night’s Dream’ Catherine Hare flute Wolfgang Amadeus Mozart Flute Concerto No.2 Guillermo Ramasasa Mortimer clarinet in D Major Carl Nielsen Clarinet Concerto Wolfgang Amadeus Mozart Symphony No.32 in G Major Saturday 24 July 2021 3pm | £15 Maurice Ravel Pavane pour une infante défunte Simon Over conductor Maurice Ravel Piano Concerto in G Major Tom Poster piano Felix Mendelssohn Symphony No.4 ‘Italian’ Double Bee- thoven Summer in the Square 2021 Friday 23 July 7pm | £15 Ludwig van Beethoven Ludwig van Beethoven Violin Concerto in D Violin Concerto in D I. Allegro ma non troppo Ludwig van Beethoven II. Larghetto Symphony No.5 III. Rondo. Allegro −− − − − 1806 was a year of extraordinary productivity for Simon Over conductor Beethoven. In addition to the Violin Concerto, this Ruth Rogers violin year also saw the creation of his Fourth Piano −− − − − Concerto, the three Razumovsky String Quartets, and the Leonore Overture No.3. Today, alongside other highly popular violin concertos from the likes of Brahms and Mendelssohn, Beethoven’s Violin Concerto is eloquent, thrilling and rich with mem- orable melodies. However, like many other works now celebrated as masterpieces, Beethoven’s Violin Concerto received a mixed reception at its premiere. The fortunes of the concerto improved consider- ably after the composer’s death. In fact, the work did not receive its proper due until a concert in London in 1844, conducted by Felix Mendelssohn, where young protégé Joseph Joachim stunned 4 Summer in the Square Double Beethoven audiences with his rendition of Beethoven’s Violin scherzo. The tension builds over these movement Concerto. Joachim wrote his own cadenzas and towards the brilliant finale. Full of invention, triumph played the piece without music – all just one and skill, the finale twists and turns before con- month before his 13th birthday! Now regarded cluding with an exuberant coda that brings all of as a true staple in violin repertoire, Beethoven’s Beethoven’s ideas together. fiery Violin Concerto is a marvel to behold. −− − − − −− − − − ©Alex Burns 2021 Ludwig van Beethoven Symphony No.5 I. Allegro con brio II. Andante con moto III. Scherzo: Allegro IV. Allegro Beethoven began sketches of his iconic Fifth Symphony in 1804, although the symphony was not fully completed until 1808. Alongside some of the composer’s other big works, Symphony No.5 was premiered at an all-Beethoven concert in December 1808. A marathon of Beethoven works, the concert also included his Mass in C, Piano Concerto No.4, Symphonies 5 & 6 and the entire Choral Fantasy, a some five-hour concert. By 1808, Beethoven’s deafness was impending, Post-concert event: money was tight, Emperor Napoleon was march- Summer in the Square Launch Party ing over his homeland, and he was feeling lost. −− − − − Music was his only route out, and so, through the 8.30pm trials and tribulations of Symphony No.5, we hear Free to audience members some of his anguish and despair. If you have a ticket to our Friday night concert, we The opening begins with the iconic ‘da da da invite you to join us after the performance and to daaaa’ that is marked fortissimo. As momentum raise a glass in celebration of our first Summer in builds, this movement shows off Beethoven’s ge- the Square festival! nius, taking a small kernel of music and creating a whole symphonic movement from it. This power- ful movement is tight in orchestration and suitably challenged by a lyrical second theme. The second and third movements take us through a series of themes and variations and then a perky 5 String Cele- bration Summer in the Square 2021 Saturday 24 July 1pm | £10 Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky Serenade for Strings Serenade for Strings I. Pezzo in forma di sonatina Astor Piazzolla II. Valse. Moderato ‘Spring’ from III. Elegia Four Seasons of Buenos Aires IV. Finale (Tema Russo) Joseph Haydn During the autumn of 1880, Tchaikovsky made Poco adagio - Cantabile from headway on his popular Serenade for Strings. String Quartet in C ‘Emperor’ The private premiere took place in December of −− − − − the same year at the Moscow Conservatory, while the public premiere took place a year later in Eugene Lee director/violin October 1881, in St. Petersburg. Undoubtedly, −− − − − Serenade for Strings was inspired by the music of Mozart, whom Tchaikovsky admired greatly. The first movement, ‘Little Sonata’, opens with a chordal sequence that becomes the central figure for the whole work. The rich chorale that opens the piece creates a powerful insight into Tchaik- ovsky’s classic style at the time of composition. As the strings unite at the end of the movement, the central chorale returns, and the movement ends as it began – with the strings together again. 6 Summer in the Square String Celebration A waltz second movement lightens the mood Franz Joseph Haydn before Tchaikovsky bares his signature lyrical writ- Poco adagio - Cantabile from ing in the third movement: Elegy. The finale brings String Quartet in C ‘Emperor’ together many themes, including the chorale, tying everything together at the end of the work. The third of six quartets that ended up being The quick changes of theme in the finale trick Haydn’s last, the Emperor Quartet was completed the ear, which makes it all the more satisfying in 1797. The nickname for this quartet derives from when the final bars are resolved. the second movement’s set of variations based on −− − − − ‘Gott erhalte Franz den Kaiser’ (‘God save Emperor Francis’) – a hymn that served as the Austrian anthem for over a century. For this concert, our musicians will be performing the second movement ‘Poco adagio cantabile’. Ambitious in style and laden with rich harmony, it is an ideal way to conclude this string-centric concert. −− − − − Astor Piazzolla ©Alex Burns 2021 ‘Spring’ from Four Seasons of Buenos Aires Although originally intended as four standalone pieces, Cuatro Estaciones Porteñas (Four Seasons of Buenos Aires) became a quartet of pieces representing the various moods, landscapes, and times of Buenos Aires.
Load more

Recommended publications
  • THE FRENCH CONNECTION Wednesday 10 July 2013
    THE FRENCH CONNECTION Wednesday 10 July 2013 London Concert Choir Canticum Southbank Sinfonia Mark Forkgen conductor Claire Seaton soprano Duncan Rock baritone Programme: £3 Welcome to the Barbican In the interests of your comfort and safety, please note the following: • Please try to restrain coughing until the normal breaks in the performance. • If you have a mobile phone or digital watch, please ensure that it is turned off during the performance. • In accordance with the requirements of the licensing authority, sitting or standing in any gangway is not permitted. • No cameras, tape recorders, other types of recording apparatus, food or drink may be brought into the auditorium • It is illegal to record any performance unless prior arrangements have been made with the Managing Director and the concert promoter concerned. • Smoking is not permitted anywhere on Barbican premises. Barbican Centre, Silk St, London EC2Y 8DS Administration: 020 7638 4141 Box Office Telephone bookings: 020 7638 8891 (9am - 8pm daily: booking fee) www.barbican.org.uk (reduced booking fee online) Programme Notes by Nancy Goodchild Programme Designed by Stephen Rickett and edited by Eleanor Cowie © London Concert Choir 2013 London Concert Choir A company limited by guarantee, incorporated in England with registered number 3220578 and registered charity number 1057242 Registered Office 7 Ildersly Grove, Dulwich, London SE21 8EU Wednesday 10 July 2013 Barbican Hall Mark Forkgen conductor London Concert Choir, Canticum Southbank Sinfonia Claire Seaton soprano, Duncan Rock baritone Fauré: Requiem Ravel: Daphnis and Chloe, Suite No. 2 INTERVAL Debussy: Prélude à l’après-midi d’un faune Poulenc: Gloria Acknowledgements Sponsorship Scheme Earlier this year, London Concert Choir launched a new scheme for those interested in sponsoring the professional musicians in tonight’s concert.
    [Show full text]
  • Viola Concerto) and 23 January 2009 (Symphony No
    Recorded in Studio 1, BBC Maida Vale, London, on 24–25 January 2013 (Viola Concerto) and 23 January 2009 (Symphony No. 2) Recording engineer: Neil Pemberton Producer: Ann McKay Music published by Peters Edition The composer would like to thank the following for their generous financial support of this CD: Keith and Margaret Stanley, Gerry Wakelin, The John S. Cohen Foundation and The RVW Trust. Booklet notes: Giles Easterbrook and Matthew Taylor Design and layout: Paul Brooks, Design and Print, Oxford Executive producer: Martin Anderson TOCC 0175 © BBC/Toccata Classics 2013. The copyright in the recording is jointly owned by the BBC and Toccata Classics. The BBC, BBC Radio 3 and BBC Symphony Orchestra word marks and logos are trade-marks of the British Broadcasting Corporation and used under licence. BBC logo © BBC 2013 P 2013, Toccata Classics, London Britten’s The Turn of the Screw and Raskatov’s A Dog’s Heart for English National Opera, Cimarosa’s The Secret Marriage for Scottish Opera, Mozart’s La Clemenza di Tito at the Royal Northern College of Music and MATTHEW TAYLOR: A BIOGRAPHICAL OUTLINE Poulenc’s La Voix Humaine at the Linbury Studio Theatre at the Royal Opera House, Covent Garden. Outside the UK he as conducted Curlew River for Lyon Opera and a new production by Calixto Bieito of Hosakawa’s by Giles Easterbook Hanjo at the Ruhr Triennale. Future plans include appearances with the Adelaide Symphony, a return visit to the Auckland Matthew Taylor’s music combines traditional forms with a contemporary language which speaks to a wide Philharmonic, Pacific Symphony Orchestra, Dortmund Philharmoniker, Musikkollegium Winterthur, BBC range of listeners, taking its part in the symphonic narrative that blossomed with the ‘first Viennese school’ of National Orchestra of Wales and the BBC Scottish Orchestra.
    [Show full text]
  • The Lullaby Concerts 2009–2018
    THE LULLABY CONCERTS 2009–2018 AN OVERVIEW OF THE LULLABY CONCERTS Orchestras Live developed the Lullaby concert series in partnership with City of London Sinfonia, as a response to the need for Early Years music making opportunities in rural and culturally undeserved areas in the east of England. Our aim was to develop inspiring, interactive and relevant ways to engage very young children (aged up to 7 years) in first-time experiences of live orchestral music. This included a long-term approach to artistic exploration with our creative partners, responding to the needs and priorities of the communities where the work was based. Evolving from a series of pilot projects started in 2003, the Lullaby concerts reached over 20,000 young children and their families in Suffolk and Essex over 10 years. For many this was their first experience of live orchestral music, and these encounters have often inspired children to take up an instrument or other creative activity, as well as encouraging families to experience more live music together. Each year the concert series, performed by City of London Sinfonia and led by presenter Claire Henry, engaged children through vivid worlds such as animals, forests and science; telling musical stories through everyday themes. After each concert the children in the audience had a chance to try orchestral instruments, supported by professional players and tutors. Over the 10 years the programme involved 727 Early Years practitioners in a CPD training development strand linked to the Lullaby concerts; the Lullaby artistic team shared appropriate skills and ideas which practitioners could take back and use in their nursery settings.
    [Show full text]
  • Simon Over Music Director and Principal Conductor
    SIMON OVER MUSIC DIRECTOR AND PRINCIPAL 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 and has conducted all the choir’s performances in conjunction with the City of London Sinfonia, La Serenissima, London Festival Orchestra and Southbank Sinfonia. 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. In 2006, Simon was appointed Conductor of the Malcolm Sargent Festival Choir and has been associated with the Samling Foundation - working with young professional singers - since its inception. As Music Director of Bury Court Opera he conducted Dido and Aeneas, Rigoletto, La Cenerentola, Eugene Onegin, The Fairy Queen, The Rake’s Progress and Madama Butterfly. Further credits include Guest Conductor of the City Chamber Orchestra (Hong Kong), the Goyang Philharmonic Orchestra (Korea) and directing Mozart’s Bastien und Bastienne for the 2011 Vestfold International Festival in Norway.
    [Show full text]
  • ECONOMIC EAR Symphonic Tigers and Chamber Kittens
    ANALYSIS ECONOMIC EAR Symphonic tigers and chamber kittens In the fifth of our series of articles on the business of classical music, Antony Feeny reflects on the extent to which the UK music industry may be dominated by a few large organisations ans Sachs was a remarkably like to ensure free competition and level example, and the top four supermarkets and productive artist if the com- playing fields, those pesky markets persist in top four banks have over 70% of the British mon sources are to be believed. becoming more concentrated and awkward grocery store and retail banking markets, HIn addition to keeping the inhabitants of ruts will keep appearing in those playing while the top six energy suppliers account Nürnberg well-heeled, he apparently cob- fields. And so it seems with classical music. for 90% of the UK market. But these are bled together 4,000 Meisterlieder between Was Le Quattro Staggioni – well-known (relatively) free markets where commercial 1514 and his death in 1576. That’s about to every denizen of coffee shops and call cen- companies compete, so what’s the situa- one every five-and-a-half days every year tres – really so much ‘better’ than works by tion for classical music – a market which is for 62 years including Sundays, in addition the Allegris, the Caccinis, Cavalli, Fresco- subsidised and where its leading organisa- to his other 2,000 poetic works – not to baldi, the Gabrielis, Landi, Rossi, Schütz, or tions are best semi-commercial, or at least mention shoes for the 80,000 feet of those the hundreds of other 17th-century compos- non-profit-making? Nurembergers, or at least the wealthy ones.
    [Show full text]
  • 5024453-91Bc56-635212052525.Pdf
    LUDWIG VAN BEETHOVEN Ludwig van Beethoven Major, Op. 73; the String Quartet in E-flat Major, PIANO CONCERTO NO. 5 Born Bonn, baptized December 17, 1770; died Op. 74 (Harp); the Piano Sonatas in F-sharp, & WORKS FOR SOLO PIANO March 26, 1827, Vienna G, and E-flat, Opp. 78, 79, and 81a; et al. Piano Concerto No. 5 in E-Flat Major, Op. 73 Unlike the Eroica Symphony (composed in Piano Concerto No. 5 in E-Flat Major, Op. 73 “Emperor” “Emperor” (1809) 1803, and in whose genesis Napoleon is 1 I. Allegro [20.26] In May 1809, Vienna fell to Napoleon for the directly, infamously, implicated), the Fifth Piano 2 II. Adagio un poco moto [6.55] second time in four years. The first conquest Concerto’s sobriquet – Emperor – was not 3 III. Rondo [10.13] of the Austrian capital, in 1805, happened bestowed by Beethoven, but by a publisher 4 Praeludium, WoO 55 [2.29] relatively quietly, as French forces entered the post facto. Although Beethoven completed Piano Sonata No. 27, Op. 90 city without opposition. But the 1809 siege the Concerto before the French invasion, the 5 I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck [5.26] of Vienna was accompanied by a heavy zeitgeist surrounding the Napoleonic Wars 6 II. Nicht zu geschwind und sehr singbar vorgetragen [6.27] bombardment. History has remembered the seems nevertheless to have permeated the image of Beethoven cowering in his brother’s work. Witness its martial rhythms and Contredanses, WoO 14 7 I. Contredanse in C Major [0.29] basement, holding a pillow tightly around his suggestions of military triumph in the 8 II.
    [Show full text]
  • Download Booklet
    • • • BAX DYSON VEALE BLISS VIOLIN CONCERTOS Lydia Mordkovitch violin London Philharmonic Orchestra • City of London Sinfonia BBC Symphony Orchestra • BBC National Orchestra of Wales Richard Hickox • Bryden Thomson Nick Johnston Nick Lydia Mordkovitch (1944 – 2014) British Violin Concertos COMPACT DISC ONE Sir Arnold Bax (1883 – 1953) Concerto for Violin and Orchestra* 35:15 1 I Overture, Ballade and Scherzo. Allegro risoluto – Allegro moderato – Poco largamente 14:47 2 II Adagio 11:41 3 III Allegro – Slow valse tempo – Andante con moto 8:45 Sir George Dyson (1883 – 1964) Violin Concerto† 43:14 4 I Molto moderato 20:14 5 II Vivace 5:08 6 III Poco andante 10:39 7 IV Allegro ma non troppo 7:06 TT 78:39 3 COMPACT DISC TWO Sir Arthur Bliss (1891 – 1975) Concerto for Violin and Orchestra‡ 41:48 To Alfredo Campoli 1 I Allegro ma non troppo – Più animato – L’istesso tempo – Più agitato – Tempo I – Tranquillo – Più animato – Tempo I – Più animato – Molto tranquillo – Moderato – Tempo I – Più mosso – Animato 15:43 2 II Vivo – Tranquillo – Vivo – Meno mosso – Animando – Vivo 8:49 3 III Introduzione. Andante sostenuto – Allegro deciso in modo zingaro – Più mosso (scherzando) – Subito largamente – Cadenza – Andante molto tranquillo – Animato – Ancora più vivo 17:10 4 John Veale (1922 – 2006) Violin Concerto§ 35:38 4 I Moderato – Allegro – Tempo I – Allegro 15:55 5 II Lament. Largo 11:47 6 III Vivace – Andantino – Tempo I – Andantino – Tempo I – Andantino – Tempo I 7:53 TT 77:36 Lydia Mordkovitch violin London Philharmonic Orchestra* City of London Sinfonia† BBC National Orchestra of Wales‡ Lesley Hatfield leader BBC Symphony Orchestra§ Stephen Bryant leader Bryden Thomson* Richard Hickox†‡§ 5 British Violin Concertos Bax: Concerto for Violin and Orchestra on the manuscript testifies) but according Sir Arnold Bax’s (1883 – 1953) career as an to William Walton, Heifetz found the music orchestral composer started in 1905 with disappointing.
    [Show full text]
  • Remembrance a CONCERT
    Remembrance A CONCERT SHELDONIAN THEATRE OXFORD SATURDAY 2 JUNE 7.30 PM I. POST-WAR: COMMEMORATION, RECONSTRUCTION, RECONCILIATION Tonight’s concert is the culmination of Post-War: Commemoration, Reconstruction, Reconciliation, a Mellon-Sawyer Seminar Series which has been running at the Univer- sity of Oxford and Oxford Brookes University in 2017–18. It has brought together academics from many different fields, politicians, people who have played a role in peace negotiations and leading figures from cultural policy and the charitable sector. They have been joined by novelists, poets, artists and musicians whose work has marked war in some way. Featured speakers have included author Aminatta Forna, architect Daniel Libeskind and composer Jonathan Dove. The Series has been divided into three strands: Textual Commemoration (Octob er– December 2017), Monumental Commemoration (January–March 2018) and Aural Commemoration (April–June 2018). Each strand was launched by an event featuring an internationally-renowned figure from the arts. These launch events were followed by two panel -led workshops each term. There have also been three events aimed directly at post-graduates: a training day in object-based research methods, a postgraduate forum and a one-day conference. Tonight’s Concert and the Series as a whole have been funded by the Andrew W. Mellon Foundation in memory of John E. Sawyer. Thanks, too, to Villa Maria for its support. The Launch of the Textual Strand: Award- Winning Novelist Aminatta Forna, OBE in Conversation with Professor Elleke Boehmer. Image credit: John Cairns Photography. PROGRAMME SIMON OVER | conductor ANNABEL DRUMMOND | violin ANNA LEESE | soprano JON STAINSBY | baritone TESSA PETERSEN | guest concertmaster CITY CHOIR DUNEDIN (NEW ZEALAND) THE PARLIAMENT CHOIR SOUTHBANK SINFONIA VAUGHAN WILLIAMS | The Lark Ascending AUGUSTA HOLMÈS | La Nuit et l’Amour RAVEL | Le Tombeau de Couperin INTERVAL (20 minutes) ANTHONY RITCHIE | Gallipoli to the Somme (European première) 1.
    [Show full text]
  • Resonate: Centuries of Meditations by Dobrinka Resonate: Centuries of Meditations by Dobrinka
    https://prsfoundation.com/2019/04/23/new‐resonate‐pieces‐announced/ Home > New Resonate Pieces Announced UK orchestras to champion 11 of the best pieces of British orchestral music from the past 25 years through PRS Foundation’s Resonate programme. Orchestras supported include City of Birmingham Symphony Orchestra, Ulster Orchestra, Dunedin Consort & Scottish Ensemble, and the London Symphony Orchestra Pieces selected include Oliver Knussen’s The Way to Castle Yonder – Pot‐pourri after the Opera Higglety, Pigglety Pop, Thomas Adès’ Violin Concerto ‘Concentric Paths’ and Four Tributes to 4 am by Anna Meredith PRS Foundation, the UK’s leading funder of new music and talent development across all genres announces the 10 UK orchestras being supported through the third round of Resonate, a partnership with the Association of British Orchestras and BBC Radio 3, which champions outstanding pieces of British orchestral music from the past 25 years and aims to inspire more performances, recordings and broadcasts of these works. The orchestras and Resonate pieces to be programmed into their upcoming 2019/20 programmes are: Aurora Orchestra: Thomas Adès, Violin Concerto ‘Concentric Paths’ London Philharmonic Orchestra: Ryan Wigglesworth, Augenlieder City of Birmingham Symphony Orchestra: Oliver Knussen, The Way to Castle Yonder – Pot‐pourri after the Opera Higglety, Pigglety Pop London Symphony Orchestra: Colin Matthews, Violin Concerto Dunedin Consort & Scottish Ensemble: James MacMillan, Seven Last Words from the Cross Southbank Sinfonia: Anna Meredith, Four Tributes to 4 am City of London Sinfonia (CLS): Dobrinka Tabakova, Centuries of Meditations Ulster Orchestra: Howard Skempton, Lento Royal Liverpool Philharmonic Orchestra (Ensemble 10/10): Steve Martland, Tiger Dancing and Tansy Davies, Iris Birmingham Contemporary Music Group: Shiori Usui, Deep Resonate is a fund and resource which aims to inspire more performances, recordings and broadcasts of outstanding contemporary repertoire, as chosen by UK orchestras.
    [Show full text]
  • Yers On-Line in the Virtual Bar
    BOOK YOUR TICKETS VIA TEXT CLAP, CHAT AND INTERACT MEET THE CONDUCTOR AND players ON-LINE IN THE virtual BAR POST YOUR REVIEW ON THE ORCHESTRA’S WEBSITE DOWNLOAD A PODCAST OF THE GIG CREATE NEXT SEASON’S PROGRAMME SHARE YOUR VIEWS VIA TWITTER BECOME PART OF THE ORCHESTRA’S GLOBAL ‘COMMUNITY’ GET MUSIC TUITION FROM THE ORCHESTRA PLAYERS VIA THE WEB TAKE A WEEKEND TRIP TO THE FIRST EVER ORCHESTRAL DIGITAL INSTALLATION . A NEW ORCHESTRAL EXPERIENCE BOOK YOUR TICKETS VIA TEXT CLAP, CHAT AND INTERACT MEET THE CONDUCTOR AND players ON-LINE IN THE virtual BAR POST YOUR REVIEW ON THE ORCHESTRA’S WEBSITE DOWNLOAD A PODCAST OF THE GIG CREATE NEXT SEASON’S PROGRAMME SHARE YOUR VIEWS VIA TWITTER BECOME PART OF THE ORCHESTRA’S GLOBAL ‘COMMUNITY’ GET MUSIC TUITION FROM THE ORCHESTRA PLAYERS VIA THE WEB TAKE A WEEKEND TRIP TO THE FIRST EVER ORCHESTRAL DIGITAL INSTALLATION . A NEW ORCHESTRAL EXPERIENCE Orchestra of the Age of Enlightenment’s Night Shift: Joe Plommer INTRODUCTION In a fast-paced world where people want excellence on and experimenting with new techniques and technologies demand, orchestras are stepping up to the challenge. in their day-to-day activities. And like any industry the orchestral world cannot afford to Modern orchestral performers are not only stand still. exceptional musicians; they are also exceptional People want to access music in ways that suit them communicators, leaders, improvisers and teachers. - without compromising on quality. Embracing new Orchestras must continue to adapt to the evolving technology is key to modernising the concert experience; demands of current and future audiences.
    [Show full text]
  • EIC0396 Written Evidence Submitted by 245 West End and Orchestral Musicians Submission Authors Please See Annex A
    EIC0396 Written evidence submitted by 245 West End and Orchestral Musicians Submission Authors Please see Annex A. Submission Remit Further to the Treasury Select Committee’s call for evidence this submission attempts to address the following questions in relation to the Self-Employment Income Support Scheme: Where has Government support been too generous and where has it not been generous enough? What gaps in coverage still remain and are changes required to increase their effectiveness? How should the Government prioritise which continuing sectors and groups to support as time goes on and ongoing support is needed? Submission Summary There are substantial gaps in the Self-Employment Income Support Scheme, leaving 1.2 million self-employed workers – around a quarter of the self-employed workforce – without any form of government help, including the country’s leading West End and orchestral musicians who are suffering immense hardship; There is no basis for applying an eligibility past earnings “cap” of £50,000 for self-employed workers, without there being a similar cap for PAYE workers. We submit that it should be removed, tapered or at the very least raised to £200,000 so that it matches what the Chancellor set out when he announced the scheme; Live performance venues were the first businesses to shut their doors and will be the last to open, likely remaining out of bounds for many months given that the performance of live music and the gathering of audiences is the antithesis of social distancing. Therefore we submit that those who work in the music industry should be entitled to some very specific and targeted help so that we avoid decimating the British music industry; A lot of attention has been paid to UK sport but we must be equally vigilant when it comes to protecting our culture.
    [Show full text]
  • “FROM BINGO to BARTOK” * Creative and Innovative Approaches to Involving Older People with Orchestras
    “FROM BINGO TO BARTOK” * Creative and Innovative Approaches to Involving Older People with Orchestras *Participant feedback, Creative Journeys: Sinfonia Viva, South Holland District Council, Orchestras Live • INTRODUCTION 1. MUSIC FOR A WHILE 3. FINLAND: CULTURAL WELLBEING 5. PRACTICAL APPROACHES 7. A RELAXED APPROACH 9. DESK RESEARCH • EXECUTIVE SUMMARY 2. MUSIC IN MIND 4. HEAR AND NOW 6. CREATIVE JOURNEYS 8. RESEARCH EVIDENCE INTRODUCTION I am sure that the majority of people reading this introduction Creative Health called for artists, health and social care will hardly need persuading of the need for and benefits of providers, local communities and funders to work together to engaging vulnerable older people with the arts. We have an support better lives longer lived. From Bingo to Bartok shows ageing population, which in turn has huge societal impact, how orchestras can contribute to this important activity, thanks with whom the arts play a vital role in promoting wellbeing and to an increasingly creative and professional approach, with quality of life. evidence of its effectiveness. The desk research shows an impressive reach; however there are many more communities In July 2017, my colleagues and I on the All-Party Parliamentary and individuals from a much wider geographical reach who Group for Arts, Health and Wellbeing, published Creative would benefit from the creative and innovative approaches that Health: The Arts for Health and Wellbeing. Our key findings orchestras can bringing to older people. Similarly, health and included evidence that the arts can support longer lives better social care providers should take note of the distinctive benefits lived, and can help to meet many of the challenges surrounding that orchestras and their musicians can bring, from specific ageing including health and social care, loneliness and clinical outcomes to the sheer joy and enjoyment of music- mental health.
    [Show full text]