VOICE OF THE AMERICAS Spring Concert Tour 12 — 14 April 2019 London, Liverpool & Birmingham NATIONAL YOUTH ORCHESTRA OF GREAT BRITAIN

12 April, 7.30pm Southbank Centre's Royal Festival Hall

13 April, 7.30pm Liverpool Philharmonic Hall

14 April, 4.00pm Symphony Hall, Birmingham

Revueltas SENSEMAYÁ Chávez SINFONÍA INDIA Gershwin PIANO CONCERTO

As part of our ongoing relationship with – INTERVAL – the BBC and its commitment to connect audiences with remarkable music and Copland culture, we are excited that our performance on Friday 12 April will be broadcast on BBC SYMPHONY NO.3 Radio 3 on Wednesday 24 April. Listen again for 30 days at bbc.co.uk/radio3 or via BBC Sounds. Thank you to the BBC CARLOS MIGUEL PRIETO Conductor for its active and supportive relationship. XIAYIN WANG Piano We are proud to support the GREAT Britain campaign, showcasing the best of what our whole nation has to offer. 1 SARAH ALEXANDER OBE KYNAN WALKER Chief Executive & Artistic Director Leader 2019

Welcome to the NYO Spring transcend what they are able to achieve On behalf of the National Youth Orchestra South America delivered through melodies Concert Tour 2019. alone, and learn that they are more capable of Great Britain, I warmly welcome you to that provide emphasis on its cultural when they unite with others. our spring concert! distinction, then moving to the grandeur We are delighted to welcome you to this of Copland’s Symphony No. 3 which concert of epic proportions: in the ambitious It's this message that inspires us to continue This is our second tour of 2019 and during explores the regal magnificence of the programme you are about to hear, played our musical journey when the applause has our first in January the orchestra developed American morale and the optimism that lies for you by 164 of the UK's most dedicated died down, busting orchestral music out of a strong, genuine connection. Together, within it. With NYO’s highly spirited energy, teenage musicians, we are sharing the voice the confines of the concert hall and into we formed a family-like atmosphere, and I believe we can harness these characters of an entire continent - from the twinkling schools across the UK. This year, NYO this is fundamentally important for creating and make it uniquely brilliant and a special lights of downtown New York, to the lively musicians will extend the hand of friendship music infused with passion and enthusiasm, experience for you. spirit of northern Mexico. to more than a thousand other teenagers, especially when the orchestra is filled with sharing the explosive power and joy of music 100% youthful energy! Such a strong Today, where culture is more intertwined This evening's programme reminds us with others who have less access to connection from the beginning was great than ever before, it seems only apt that of music's power to communicate a time orchestral opportunities as part of our to see and made our first concert tour of a teenage orchestra would explore these and place, a mood, a feeling, across NYO Inspire programme. 2019 truly electrifying. This spring, I want to musically diverse and culturally significant geographical borders and social barriers. see a continuation of this unique energy, works. Despite prevailing cultural diversity At a time when a united 'voice of the None of this would be possible without our and for it to excel and soar to new heights. in our society, there does still lie few who Americas' is threatened by man-made walls generous supporters. Just as our musicians wish to separate cultures, suppress and human division, it is more important are more powerful when they come together, In this performance we explore American diversity and build walls. than ever to celebrate what we have in united by shared values, we continue to be music, from the Latin American folk-like common than what sets us apart. emboldened by our ever-growing network melodies of Sinfonía India by Chávez As the human race, the common values of people who champion us and rally behind and Sensemayá by Revueltas, to the glitzy we share (friends, love, trust) break NYO musicians know this. Each of our our vision to inspire the next generation of exuberance of Gershwin’s Piano down these barriers. What better way musicians comes to the concert hall from musicians. Together we have proven that Concerto, concluded by Copland’s to show this global unity than through across the entire country, from different teenagers embrace orchestral music, ‘great American symphony’. a culturally rich concert played for you backgrounds, and with a kaleidoscope of especially when it is shared with such by 164 teenage individuals who come their own individual experiences and energy and dedication. This programme provides great excitement together from across the nation, unified viewpoints. By coming together, united by a because of its diversity. It explores the as an orchestra. love of music, and sharing with others who We hope you are swept up in this thrilling entirety of the Americas delving into two are different from themselves, our musicians spirit of collaboration and community tonight. contrasting cultures: the raw beauty of 2 3 A TRIBUTE TO ALEX ROSS

The National Youth Orchestra of Great ‘I feel incredibly lucky to have Britain would like to dedicate tonight’s spent my first year of NYO in concert to the memory of Alex Ross, double bassist and NYO musician, who tragically the thrilling company of Alex died in December 2018, aged 19. Alex, like Ross. He was an entertainer, every musician who has been a part of the a role model, a trouble-maker, NYO family, was highly valued and helped shape the orchestra as it is today. The loss is a comic, an optimist, a cynic, felt by us both musically and personally. We a mentor, an incredible musician are proud and honoured that Alex chose to and a truly caring friend whose spend a part of his musical journey with NYO. He remains in our thoughts as we legacy will remain a part of perform tonight’s concert. this bass section for many years to come.’ ‘I first met Alex on NYO, and was lucky enough to share a desk with – JESS, 18 him on my second course. We DOUBLE BASS, NYO would often practice excerpts together during free time and ‘Thank you Alex for all the play through new rep we had happy memories. Proud is an learnt. He was such a likeable understatement to describe guy and was so easy to work with. how I feel for being friends with He brought a great liveliness to Alex. I’ll never forget you.’ the bass section with his cheeky – NICK, 18 sense of humour. I will certainly DOUBLE BASS, NYO never forget his head bangs in tutti during big bass moments, Alex’s family are supporting Alex’s seat or his spiky hair every morning.’ and raising money for double bass bursaries at NYO in his memory. If you – MATTEO, 18 would like to contribute please visit DOUBLE BASS, NYO nyo.org.uk/please-donate

4 5 SILVESTRE REVUELTAS SENSEMAYÁ (1938)

CHANT TO KILL A SNAKE NICOLÁS GUILLÉN

Both Silvestre Revueltas and his colleague This piece is bursting with rhythmic energy, ¡Mayombe-bombe-mayombé! Sensemayá, with its tongue, Carlos Chávez were born in 1899 – a year dark and ominous, beginning with ¡Mayombe-bombe-mayombé! sensemayá. after Gershwin, and a year before Copland. percussion and a low, slow trill on the bass ¡Mayombe-bombe-mayombé! Sensemayá, with its mouth, clarinet. In fact the whole score is dominated sensemayá. Revueltas was a skilled violinist and by brass, wind and percussion rather than The snake has eyes of glass; conductor, and worked for some time in the strings: it’s absolutely not European, in other the snake comes and coils around a stick; The dead snake cannot eat; USA as the director of a silent film orchestra. words, and that was quite deliberate. There with its eyes of glass, around a stick, the dead snake cannot whistle; He returned to Mexico in the late 1920s to are three percussion players with a whole with its eyes of glass. it cannot move, assist Chávez in conducting the Orquesta host of instruments: look out for the The snake walks without legs; it cannot run! Sinfónica de México, and also taught at the xylophone, collection of drums and the the snake hides in the grass; The dead snake cannot see National Conservatory there. claves (a pair of wooden batons hit against walking it hides in the grass; the dead snake cannot drink; each other). walking without legs. it cannot breathe, Revueltas wanted to write music that it cannot bite! reflected popular Mexican culture: the The opening sounds a little bit like ¡Mayombe-bombe-mayombé! sound of village bands and mariachis, the Stravinsky’s The Rite of Spring, based ¡Mayombe-bombe-mayombé! ¡Mayombe-bombe-mayombé! Spanish-language poetry of his own lifetime, on repeated patterns with seven beats ¡Mayombe-bombe-mayombé! Sensemayá, the snake... and the vibrant, percussive rhythms of local in each bar. Tension builds as the piece dancing. Sensemayá was written in 1938, just goes on – Revueltas finds an orchestral You strike it with the axe, and it dies: ¡Mayombe-bombe-mayombé! two years before he died. It was inspired by equivalent for every line of Guillén’s poem, strike it now! Sensemayá, does not move... the poetry of the Cuban writer Nicolás and we’re almost hypnotised into the Don’t strike it with your foot, as it will bite you, Guillén, and his depiction of a magical rite rhythms of the words as the snake writhes, don't strike it with your foot, as it will escape! ¡Mayombe-bombe-mayombé! in which a snake is sacrificed. is struck... and dies. Sensemayá, the snake... Sensemayá, the snake, sensemayá. ¡Mayombe-bombe-mayombé! ¡Sensemayá, has died! Sensemayá, with its eyes, sensemayá. Translation: Ricardo Zohn-Muldoon

6 7 HUGO CHÁVEZ SINFONÍA INDIA (1936)

Chávez was one of the most important music pre-dating the Spanish conquest – composers working in Mexico in the first half and Chávez drew on melodies collected by of the twentieth century. His country suffered scholars from indigenous cultures such as DID YOU KNOW? huge political turmoil in the early 1900s with the Cora, Huichol and Seri. You can hear revolution and civil war, and when things these melodies being repeated by the • Chávez travelled to Europe in 1922, just after began to settle once more in the 1920s, he orchestra, often with varied he got married, and on his travels met the was one of the key figures in rejuvenating accompaniments and countermelodies French composer Paul Dukas (who famously Mexican art – along with the artists Diego surrounding them. As with Sensemayá, wrote The Sorcerer’s Apprentice). It was Rivera and Frida Kahlo. Chávez was the percussion and rhythmic drive is a major part Dukas who encouraged him to focus on founding director of the Orquesta Sinfónica of this piece, and Chávez asks for four native Mexican music to help him develop de México, the country’s first permanent percussionists to play both standard his own style. orchestra, and also worked with the orchestral instruments and local Mexican government to improve music education instruments. • It was thanks to Chávez that Copland began in Mexico. But as a composer, he was visiting Mexico in 1932 – and Copland fell in interested in two very different parts of Sinfonía India was not, despite its subject love with it. The two men remained the closest Mexican history: the Spanish-dominated matter, composed in Mexico: in fact, Chávez of friends for some 50 years. period after European conquest in the was in New York when he wrote this piece in 1500s, and the ancient cultures that existed 1935, and it was premiered in January 1936 • There was increasing rivalry in the 1930s before this had taken place. Sinfonía India is by the CBS Symphony Orchestra (an between Mexican composers who preferred one of Chávez’s attempts to get hold of the orchestra set up for the CBS radio station) Chávez, and those who preferred Reveultas. lost Aztec history of Mexico – and re-imagine with Chávez conducting. It was a big hit with Revueltas died when he was just forty years that soundworld for the twentieth century. US audiences and became one of his old, in 1940; but the battle continued in best-loved compositions. He made frequent critical writing. Still, the two men remain – Although this is a ‘Sinfonia’, this piece is not visits to North America to conduct his music together – the most highly respected Mexican divided up into separate movements. and works by his contemporaries (including composers of their generation. Instead, the music varies in speed and his friend Revueltas) with leading texture to give us a sense of musical journey. orchestras. And he had many close friends The piece uses pre-Hispanic music – that is, there – above all Aaron Copland.

8 9 GEORGE GERSHWIN PIANO CONCERTO (1925)

‘It would need a very complicated 1. Allegro – fast, quickly, and bright of the New York Philharmonic, Walter movement. This was also the first work that series of mathematical charts to 2. Adagio – slowly with great expression Damrosch, was so impressed with Rhapsody Gershwin orchestrated himself (a close 3. Allegro agitato – fast and agitated in Blue that he commissioned Gershwin colleague had orchestrated Rhapsody in explain exactly what he was to write a Piano Concerto, with the composer Blue) – so the whole thing was a pretty big doing; and even when one had In 1924, a special concert was held in New as soloist, to be performed at Carnegie gamble, and a learning curve, for everyone’s explained it, the number of people York called Experiment in Modern Music. Hall. Gershwin’s original plan for the favourite show composer. The last piece on the bill was a new work Concerto movements went like this: who could play the result would, for piano and orchestra by the hit Broadway The premiere performance was a sell-out, I imagine, be not greater than composer George Gershwin – a piece he’d 1. Rhythm though the piece didn’t catch on as quickly those who, according to Mr called Rhapsody in Blue. 2. Melody (Blues) as Rhapsody in Blue. One of the reviewers 3. More Rhythm suggests part of the reason for its mixed Einstein, comprehended the The idea of working jazz influences into a reception: that whilst Gershwin played theory of relativity. To put it in ‘serious’ concert piece like this was extremely The business of writing the piece took some like a jazz-swinging pro, the New York a non-technical way, he was new and daring, and the whole concert was serious study on Gershwin’s part, because Philharmonic had never played music like designed to challenge the audience and he didn’t really know how to write a concerto, this before, and they ‘apparently didn’t taking a quantity of strictly critics to accept that jazz was here to stay, having never learned composition formally. know exactly what to do’ with it! opposed rhythms and, by some and deserved a place in the limelight. The He read some books about how to structure magic counterpoint of his own, response was incredible: Rhapsody in Blue a piece of this kind, and adopted bits of what was an outrage, a massive hit, and made he found out. The first movement is very nearly weaving them into a glittering Gershwin more than a quarter of a million in the ‘classical’ form of famous predecessors, mass which was at once as well dollars over the next ten years. with a brilliant fanfare to start us off, and ordered as a route march and a lively Charleston rhythm later on – a very Gershwin was an enormously successful popular dance of the 1920s. as drunken as an orgy. Yet composer (he was busily writing roles beautiful. Really beautiful.’ for Fred Astaire in the same year as the The second movement, which took him the Rhapsody) but he had been known primarily longest to compose, is a kaleidoscope of -BEVERLY NICHOLS, for his songs. Could a guy like this really write beautiful lines and jaunty melodies; and ARE THEY THE SAME AT HOME? (1927) large-scale concert works? The conductor the third brings back echoes of the first

10 11 AARON COPLAND SYMPHONY NO. 3 (1946)

1. Molto moderato – moderately fast piece: big open spaces between notes in the with simple expression first tune we hear, and music that also tends 2. Allegro molto – fast, quickly, and bright to allow certain sections of the orchestra to 3. Andantino quasi allegretto – fast, rapid be front and centre for short stretches. The and lively Fanfare – the music runs seamlessly from 4. Molto deliberato – very deliberately the end of third movement into the fourth – belongs firstly to woodwinds, then to brass. Gershwin’s Concerto is the sound of The energetic Scherzo, the second North America in the twenties; Chávez movement, is also a joyride for the woodwind and Revueltas give us different takes on section, as well as using a lot of percussion Mexican music in the thirties... and we end (including the piano). the concert with a work Aaron Copland composed in the forties. He began his The strings get long, broad melodies and Symphony No. 3 in Mexico in the summer lyrical moments throughout. And a lot of this of 1944, during one of many visits he made music is built by stacking ideas on top of DID YOU KNOW? there. Over the next few summers, he set each other: if you listen to the opening of the time aside to finish the piece, which had symphony, you’ll notice that the tune we • Copland’s family name was ‘Kaplan’; his been commissioned by the prestigious begin with is passed across different parents were Jewish immigrants from Koussevitzky Music Foundation, and the instruments as the music unfolds. Lithuanian Russia, and ran a department premiere was all set for October 1946. store in Brooklyn. The symphony was fairly well received at The Second World War had ended during its first performance, and was awarded a • The Koussevitzky Music Foundation, who the years in which Copland had finished special price by the New York Music Critics' commissioned the symphony, was started by the Symphony and he wanted to close it in Circle for the best orchestral work by an the conductor Serge Koussevitzky to fund new an optimistic way, to mark it as an ‘end-of- American composer played during the works. The Foundation funded many leading war piece’. So the finale begins with a 1946/7 season. In the summer of 1947, contemporary compositions including Benjamin quotation of a composition he had written Copland conducted the piece in Mexico at Britten’s opera Peter Grimes, Béla Bartók’s just a few years earlier, and which rapidly Chávez’s invitation. He recalled afterwards Concerto for Orchestra and Olivier Messiaen’s became one of his most popular: Fanfare for that the Mexican audience was not very Turangalîla-Symphonie. the Common Man. convinced, but that he (Copland) was too busy trying to deal with his tuxedo to worry – • Carlos Chávez conducted the premieres The kinds of harmonies you’ll hear in the the one he’d rented was too big, and fell of several compositions by Copland, including Fanfare are reflected all the way through the down over his hands as he tried to conduct! El Salón México in 1937.

12 13 MY NYO INSPIRE JOURNEY Photo: Jason Alden

The philosophy behind NYO Inspire is and NYO Inspire Orchestra, and saying yes simple: to give breakthrough experiences to these fabulous opportunities was one of my of orchestral music to teenage musicians best decisions to date. NYO tutors were really and audience members with a particular encouraging, sharing not only great technical focus of empowering students from state advice but also top tips to help me further my education and BAME communities. musical achievements. During the NYO Inspire For the last four years, this national Orchestra project, which toured secondary programme has celebrated the power schools in Birmingham inspiring young people of peer inspiration and learning, and to take their music further, I learnt so much NYO Inspire Days are immersive one-day NYO Inspire Orchestra continues NYO’s radically increased the number of people about music, leadership, instrumental events of orchestral workshops and bold mission to give breakthrough touched by NYO orchestral brilliance. technique, and made some great friends. rehearsals and offer the chance to play experiences of orchestral music to as a full 120-piece symphonic orchestra teenagers everywhere. It consists of a Violinist William Clark reflects on his In May 2018 I was lucky enough to play in an alongside NYO musicians. The days are six-day residential course and a four day experience as an NYO Inspire musician. NYO Inspire Day with musicians from the UK aimed at grade 6-8+ teenage musicians concert tour to secondary schools and youth and from NYO USA, premiering a piece by and you can apply on our website two centres where thousands of young people My first experience of NYO Inspire was in 2016 Arturo Márquez written for the conductor – months before each event. are given the chance to hear a full orchestra at an NYO Inspire Day in Nottingham playing Gustavo Dudamel! It was a once in a lifetime perform live, many no doubt for the first time. Shostakovich's Jazz Waltz No.2. Although I’d experience. I was also invited to perform as NYO Inspire Ensembles are three-day Musicians are invited from NYO Auditions, been extremely nervous, it was such a fantastic an NYO Inspire musician in Bernstein’s residencies in orchestral family groups – NYO Inspire Ensembles, and NYO Inspire day that I was determined to participate in MASS with NYO at the Southbank Centre's Strings, Winds, Brass and Percussion – Days to join NYO Inspire Orchestra. more NYO Inspire activities so I attended two Royal Festival Hall in London under Marin that explore challenging repertoire and further NYO Inspire Days in Leeds and Alsop. To play in an orchestra with such ensemble playing techniques. Musicians If you are interested in getting involved, Birmingham. Those three days made me like-minded people was thrilling. I knew I had can apply by being nominated by their please visit nyo.org.uk/inspire. hungry for more top-quality orchestral violin to re-audition for NYO. music hub, music service, arts organisation, playing and I auditioned for NYO 2018. or music teacher, or through the open This year I was offered a place in NYO's first website application. We also invite I wasn’t successful in gaining a place but violin section – I wouldn’t be here without musicians that we have met at auditions and is a major sponsor NYO invited me to NYO Inspire Ensembles NYO Inspire. returning NYO Inspire musicians to apply. of NYO Inspire

14 15 16 expressivity ofhisinterpretations. characterised byitsdynamismandthe Mexico City.Hischarismaticconductingis family ofSpanishandFrench descentin Carlos MiguelPrietowasbornintoamusical PRIETO MIGUEL CARLOS CONDUCTOR Photo: Benjamin Ealovega programmes inMexicoCity. a twomonthlongseriesofsummer a hand-pickedorchestra whichperforms of theOrquesta SinfónicadeMinería, In 2008hewasappointedMusicDirector New OrleansfollowingHurricaneKatrina. has ledthecultural renewal of Philharmonic Orchestra since2006,where he also beenMusicDirector oftheLouisiana important orchestra, since2007.Prietohas Nacional deMéxico,thecountry’smost the MusicDirector oftheOrquesta Sinfónica conductor ofhisgeneration. Hehasbeen cultural leaderandistheforemost Mexican Prieto isrecognised asahighlyinfluential to beexperiencedlive.’ but thatfallsshort.Ithas or ahugerideinrollercoaster, sea another world,awild youandtakesto wraps a currentofemotionthat ‘I couldtellyouNYO islike – CARLOSMIGUELPRIETO

and performed throughout the world. and performedthroughout theworld. has released numerous celebrated recordings within thethickestoftextures,’ maintain andilluminateastrand ofmelody grasp ofpianisticcolorandherabilityto by TheNewYork Times forher‘ musicality andsweepingvirtuosity.Praised Pianist XiayinWang isanartistofkeen WANG XIAYIN PIANO Ms.Wang estimable estimable

of Musicasaninstructor piano. faculty atTheNewSchool’sMannesSchool season, Ms.Wang joinsthe distinguished Manhattan SchoolofMusic.Inthe2018-19 Professional Studiesdegrees from the She holdsBachelor’s,Master’s,and College’s KayePlayhouse. Keyboard Institute&Festival atHunter New York City’scelebrated International Peter Oundjianandareturn solo recital at Royal ScottishNationalOrchestra and performances andarecording withthe California withviolinistAlexandra Soumm; America andchambermusicconcertsin Orchestra; solorecitals inNorthandSouth Pacific Symphony,andChicagoPhilharmonic National Orchestra, MinnesotaOrchestra, Southwest FloridaSymphony,Spanish with theAikenSymphonyOrchestra, Recent highlightsincludeorchestral debuts breathless inmusicalawe.’ inherent intheperformance,andisleft such delicacy,thatoneforgets thedifficulties rhythmically driving…withsuchassuredness, be atonemomentsensualandthenext As MusicalAmericaputit:‘

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17

ABOUT NYO NYO ON TOUR Confirm dates are correct

The National Youth Orchestra of Great by teenagers’ energy, creativity, skills and There is nothing quite like an NYO concert. SUMMER 2019 Britain is internationally celebrated as the desire to engage with other teenagers, To witness the power and passion of TCHAIKOVSKY Violin Concerto world’s greatest orchestra of teenagers. who are their future audience. Through NYO a performance by the world’s greatest PROKOFIEV Romeo and Juliet Recruiting its 164 teenage musicians from Inspire, NYO musicians lead workshops all orchestra of teenagers – 164 musicians LERA AUERBACH Icarus every background and every corner of the over the UK to include hundreds of their to be precise – is a truly unforgettable UK, the orchestra rehearses in residence musical peers in ensembles. Thousands and inspiring experience. But don’t just MARK WIGGLESWORTH Conductor three times a year, working with the world’s of teenagers experience thrilling symphonic take our word for it… NICOLA BENEDETTI Violin leading conductors, tutors and soloists. performances by NYO in their schools. 25 July, Victoria Hall, Stoke-on-Trent The orchestra performs in the UK’s most NYO also hosts unique pre-concert ‘a brilliantly robust defence of 26 July, Saffron Hall, Saffron Walden iconic concert halls, and its distinct sound, receptions for teenagers. 27 July, London (details to be announced) performance verve and musical brilliance their part in our cultural fabric’ is celebrated in 5 star reviews in the national NYO is renowned for its bold approach THE DAILY TELEGRAPH WINTER 2020 media. In 2016 NYO was proud to receive to new music, giving world premieres by 4 January, Warwick Arts Centre, Coventry the RPS Ensemble Award, and in 2012 leading composers. In recent years the ‘a dazzling showpiece 5 January, Barbican, London was the first organisation to be awarded BBC Proms has given a platform for music 6 January, Royal Concert Hall, Nottingham the Queens Medal for Music. NYO is an by Anna Meredith, Tansy Davies and Iris for virtuoso youth’ extraordinary emblem of what the nation’s Ter Schiphorst. NYO joyfully promotes THE TIMES SHOSTAKOVICH Symphony No. 11 teenagers can achieve. new music within its ranks, with a dedicated section of six prolific teenage composers. ‘a five-star fiesta of JAIME MARTÍN Conductor Since its founding in 1948 by Dame Ruth NYO is Southbank Centre’s Associate Railton, NYO has nurtured the dreams Orchestra and, as Classic FM’s Orchestra energy and talent’ SPRING 2020 of teenage musicians including many of Teenagers, collaborates with the THE GUARDIAN 16 & 18 April, Southbank Centre's Royal leading musical voices; from Sir Simon broadcaster to offer £5 tickets to under-25s Festival Hall, London Rattle, Sir Mark Elder and Kwamé Ryan to all NYO concerts. The BBC generously Totally teenage orchestral brilliance. to Alison Balsom, Thomas Adès and Judith broadcasts all NYO concerts on BBC Come and see it. BEYOND BEETHOVEN 9 Weir. NYO alumni sit in 25% of principal Radio 3. Hear an ode to joy for our times with a seats in London orchestras, have founded reimagined choral symphony with more ensembles including the London Sinfonietta, NYO relies on voluntary donations for 70% than 400 performers. Aurora Orchestra, and Multi-Storey of its income. Every year, we welcome our Orchestra, and hold leadership positions individual, trust, corporate and legacy at major conservatoires. supporters to concerts and events. They For further information and tickets, are all committed to supporting our musicians visit nyo.org.uk/performances NYO musicians are the future of orchestral and ensuring that they enjoy an empowering music and powerful advocates. We think and transformative experiences in NYO of NYO as an innovation engine, fuelled and NYO Inspire.

18 19 HOLLY WOODS CELLO SETH COLLIN ISABELLA Creative Collective 16, Newcastle upon Tyne THORNEYCROFT 17, Cambridge DANIEL BRANDON*†‡ Seat supported by Creative Collective Principal 17, Epsom Dr Roy Schofield 17, Tyne & Wear JOSHUA LAW Seat supported by Seat supported by the 17, Milton Keynes Paul & Eunice Morgan TAREK ELDIN Promenader’s Musical NATIONAL Seat supported by 18, Bedford Charities Sean Overend FELIX ROSENBOOM*† Co-Principal 16, Forest Row SOUNY PARK LOTTIE ANSTEE† YNYR PRITCHARD* Seat supported by The 14, London 17, Chelmsford String Leader 17, Caernarfon Marie-Louise Von Motesiczky YOUTH Seat supported by The Charitable Trust DOUBLE BASS JAKE HOUSTON Colwinston Charitable Trust 16, County Antrim GEORGE WILKES† JESS HOSKINS*† Seat supported by NADIA 17, Warwickshire Principal 18, London Graham Carter SOOLE-SANCHEZ 17, London THOMAS NETTLE MATTEO WALLS*†‡ RUBY HOWELLS ORCHESTRA 17, Tonbridge Co-Principal 18, London 17, Shropshire ELIN DEVINE Seat supported in memory OF GREAT BRITAIN 2019 DOUGLASS of Martin Pepperell JAMES KILN*† OBOE 17, Northumberland 19, Amersham JOSEPH BARKER MAX CARSLEY*† ADAM POSSENER 16, Cornwall ISABELLE NORWOOD Principal 18, Edinburgh 17, Norwich Seat supported by 17, Milton Keynes Seat supported by Seat supported by Pat & Gus Moore Mr & Mrs Gershinson The John R Murray ALEXANDER HEATHER Charitable Trust LAYLA 18, Somerset SOPHIE CATHERALL† BALLARD COOPER 16, Ipswich VIOLIN 1 RACHEL STONHAM VIOLIN 2 TABITHA APPEL JAMES LEE WARBRICK 15, Edinburgh STEPHEN CONWAY‡ Seat supported by 18, Wiltshire 15, Oxford KYNAN WALKER*†‡ LILY HARWOOD*† 18, Lincoln Creative Collective The Barbara Whatmore JAMES CONWAY*‡ 15, East Sussex Charitable Trust Leader 17, Birmingham BETANIA JOHNNY Principal 17, London ISABELLA AZIMA* SERENNI MORGAN String Leader 17, East Sussex Seat supported by Alastair Seat supported by David 16, London String Leader 17, Monmouthshire Hume & Simon Carrington ELLA LEONARD Dutton & Mave Turner JEREMY WEINSTEIN*† 16, Stratford-upon-Avon Seat supported by The DANUSHKA 17, Taunton MAISIE STEWART Co-Principal 16, London Ashley Family Foundation EDIRISINGHE NICHOLAS YASMIN 16, Birmingham LOTTE COLLIN 16, Loughborough BROUGHTON SASHA PULLER STREVENS-CHEN*† MOMO UEDA 15, Newcastle upon Tyne EMILY FRASER String Leader, 18, Chester Creative Collective Co-Leader 18, London JAMIE FROST 16, Edinburgh 16, London DANILO DELA CRUZ 18, Sevenoaks Creative Collective 17, Seat supported in memory CHUN-YI KANG 18, Enfield CHARLES ALEXANDER SEMPLE London of Aletta du Plessis 14, Glasgow 17, Ashtead SUMMER BROOKS CAMPBELL PEEK JACK TOSTEVIN-HALL 15, Devon EDDIE MEAD 15, Essex 18, Guernsey MOLLY BECKER CARYS BARNES CHLOE 16, Bridgend Seat supported HARRY KNEESHAW 18, Chorley 18, Southgate BOWERS-SORIANO KILIAN MEISSNER* by James Elms ARCHIE MORTON 18, Beverley 15, Surrey String Leader 17, Cambridge ELOISE 16, Glasgow Seat supported anonymously LOTTIE SWAINSTON*‡ PRIYA BERKS Seat supported by Julian & RAMCHANDANI* ANNABEL BENISTON String Leader 17, Newbury 16, Oxford MATILDA SACCO Caroline Nettel String Leader 15, London 15, Kent CATERINA LUE FAYE ZHAO 17, Edinburgh Seat supported by Seat supported anonymously 16, Glasgow 17, London WILLIAM CLARK ELLA FRASER PATRICK O’REILLY Dr Roy Schofield Creative Collective 16, York 17, Glasgow GEORGINA 14, Warwick MANON BRISTOW CLARINET GABRIELLA BAVETTA* Seat supported by Joyce BLOOMFIELD JAMES DEW 17, Guildford String Leader 14, London Fretwell for Mary E Allan ELIZABETH WEBB 15, Buxton ISABELLE NETTLE Creative Collective TOM MYLES*† Seat supported by The 17, Sheffield Seat supported by 14, Kent 16, West Sussex FLUTE Principal 17, Ballygowan John R Murray CATHERINE ABELA Venetia Jennings Seat supported by Seat supported by Seat supported by the Charitable Trust 16, Ascot ELEANOR DAVIS* Peter & Anne Farrar The Marie-Louise Von FELIX BLAKE*† Martyn Ibbotson Fund String Leader MEGAN GRAINGER Motesiczky Charitable Trust Principal 19, Warrington TOM DE CSILLÉRY ALISTAIR BURTON 16, Hertfordshire Creative Collective ROSALIND PIKE EMILY 16, London 17, Kendal 16, Birmingham 15, London JOEL PENROSE SAM FRITH Seat supported by HIEU WILKINSON WATSON-BREEZE 16, Lewes 17, Hertfordshire 18, York Leon Kamhi ¬ BRONAGH LEE 16, London SCOTT STOREY EMILY CLARK 15, Birmingham 14, Beckenham 16, Hertfordshire DORALY GILL DAISY NOTON NATHAN KENWORTHY CATHERINE ALSEY ENOCH CHEUNG 15, Hertfordshire 15, East Sussex 15, Cheshire 16, Kent LUCY RUUSKANEN 17, Birmingham VIOLA BENEDICT KING Seat supported by Seat supported by Seat supported by the 15, Edinburgh Seat supported by 14, Kent Saker Nusseibeh Dame Liz Forgan ALEX USHER 1948-67 Alumni Group John Osborn ELENA ACCOGLI*† 18, Leigh-on-Sea Principal 18, London BUTTERFLY PATERSON NELLIE WHITTAM JOHN GALLANT 14, Cambridge Creative Collective 15, London SAM SCHEER*† 15, Somerset Co-Principal 18, London Seat supported anonymously 20 21 IONA SALTER ALEXANDER HARRIS‡ RHYDIAN HARP Creative Collective 17, Swindon DAFYDD TIDDY 15, London Creative Collective BETHANY Seat supported anonymously ALICE KNIGHT 16, Carmarthenshire CASWELL*†‡ 15, Newbury Principal 16, Ashbourne RAJ BHAUMIK† FELIX ROCKHILL 15, Glasgow WILLIAM SCOTLAND 17, Guildford HUW BOUCHER BECAUSE Creative Collective 16, Penarth OLIVER PIGRAM 17, Haywards Heath BENJAMIN ANDREWS 18, Suffolk 16, Cardiff MEGAN HUMPHRIES HENRY WARD 17, Harrogate BASSOON 15, Hampton EDWARD HYDE 15, Kent SIOBHÁN MATHIAK OF YOU CAMPBELL LANG*†‡ HANNAH WILLIAMS Seat supported Creative Collective Principal 16, Devon by Brian Turnbull 16, Brussels WE HAVE A NATIONAL 18, Glasgow TRUMPET BASS TROMBONE ORCHESTRAL WILLIAM KIDNER KEYBOARD Creative Collective HOLLY CLARK*† DAVID SINCLAIR*† YOUTH ORCHESTRA 17, Wiltshire Principal 18, Bolton 16, Glasgow ERIN BLACK Seat supported by Seat supported by 16, Glasgow John & Pauline Tremlett Peter Hibbert JAMES GREER OF GREAT BRITAIN 18, Wigan JULIA DE LUCA EMMA WILLIAMS BERNADETTE 17, Hertfordshire 17, Chippenham CHENG-WHITEHEAD TUBA Whether you are one of our NYO alumni, Seat supported by The Joyce 16, Surrey COMPOSERS an NYO parent, or a devoted fan of music, Fletcher Charitable Trust Seat supported by the HR DOUGLAS SCOTT*† Taylor Charitable Trust Principal 18, Glasgow LIZZY GÜR†‡ by giving your support to NYO you become LYDIA BENNETT Principal & Creative part of a diverse community sharing a 18, Dorset CHRISTIE SMITH CALLUM DAVIS Collective 17, Chorley Creative Collective Creative Collective common and urgent purpose to change JAMIE KING 15, Huddersfield 17, Tipton BEN BOOTHROYD† the future of orchestral music. 16, Glasgow Seat supported by 15, Oxford Seat supported by Ursula Jones in memory JUDE SMITH You can support us by: Michael Waldman of Philip Jones 15, Macclesfield ALEXANDER PAPP 18, Bedford • Joining the NYO Patrons’ Scheme ANNA GHIRO KATIE BANNISTER † PERCUSSION • Pledging to Take a Seat in NYO 15, Glasgow 17, Manchester SOPHIE PRIESTLEY MEADOW BROOKS 17, Harrogate • Making a one-off donation AIDAN CAMPBELL FRANK COUGHLAN 18, Devon 16, Maidenhead 17, Worcestershire OLIVIA RANSOME Get closer to the orchestral energy ALFIE CREBER 16, Cambridge and passion of NYO. Please contact HORN HENRY SHEPPARD 17, Bristol Seat supported by 17, Beaconsfield Mrs Doreen Moorhouse Ariana Musiol on [email protected]. ANNEMARIE FEDERLE* SIMONE Principal 16, Cambridge ELIZA TALMAN HERBERT-MOORES SASHA SCOTT Seat supported by Mark 17, Frome Principal 17, Manchester 17, Wembley Ford & Stephen Metcalfe Seat supported by Seat supported by Diana & Nadia Lasserson John de la Cour in memory ALEX WYATT DONATE BRENDAN of Betty Ashcroft 15, Milton Keynes ONLINE CONNELLAN*† TIAN HSU Co-Principal 14, London DAN KIMBERLEY NYO’s Composers Section 15, Haywards Heath Seat supported by 17, High Wycombe is supported by: Seat supported David Richardson Seat supported by the PRS for Music Foundation by Paul Allam Misses Barrie Charitable Trust nyo.org.uk/please-donate TROMBONE The Boltini Trust JOSHUA ARCHIE KNEESHAW‡ The RVW Trust OSBORN-PATEL LAWRENCE Creative Collective The Steel Charitable Trust 16, Warwickshire SCHOFIELD*† 16, Beverley * Leverhulme Arts Scholar Seat supported by Principal 17, West Sussex † Wolfson Scholar Michael & Maria Fischer SAM NICHOLLS ‡ Blavatnik Scholar MEGGIE MURPHY 16, Kendal JOSEPH LONGSTAFF 18, Cardiff Can you sponsor a seat? 17, Bushey Seat supported by The GREGOR THOMSON Can you enable an NYO Colwinston Charitable Trust 17, Cobham musician to take to the stage? ALICE WARBURTON nyo.org.uk/individuals 17, London Together we’re an orchestra. 22 23 NYO TEAM

Royal Patron Development Director DEVELOPMENT Horn FRANCESCA COX SKINNERS’ ACADEMY, KURT GEONZON HRH THE DUCHESS NICOLETTE SHAW SUE DENT Head of Trusts & Foundations HORATIO COX LONDON LEIGHA HALL OF CORNWALL STEPHEN CRANER IMAAN IBRAHIM Communications & THOMAS DU PLESSIS Trumpet NISA AKDAG Founder Marketing Director JOHN MILLER STEPHANE CRAYTON WAAIZ MUFTY Head of Individual Giving YASMIN ALI THE LATE DAME MEL SPENCER CHARLIE DALE-HARRIS SALWA MUSTAFA ARIANA MUSIOL Trombone CHIN HO CHUNG RUTH RAILTON DBE CLARE LEIGHTON JEREMY OSEI Artistic Planning Director PETER GANE CHIPAKA HENRY Development Manager, TOM MORGAN CHRIS ROBERT Ambassadors CRAIG WEST SAMIRA IBRAHIM Events & Major Support Tuba PETER NODEN CAROLINE SMITH* ALISON BALSOM OBE JASIRA ISLAM FINANCE & SIMON FRAIS PATRICK HARRILD JEREMY SALTER CHRIS BEARDSHAW GABY LONDON MARIN Head of Music ADMINISTRATION JACK SHEEN Individual Giving Percussion JOSEF PYECROFT ALAN HUGHES BENJAMIN R BROADBENT CARMEL SMICKERSGILL Finance Manager Coordinator ANDY BARCLAY KATIE DERHAM DAN SPRINGATE Head of Music WASHWOOD HEATH KEREN MODHA BEN ELLIS DANIELLE DE NIESE Timpani RUFUS SULLIVAN RACHAEL ADEDIRAN ACADEMY, BIRMINGHAM SIR MARK ELDER CH CBE Finance & Administration Development Advisors IAN WRIGHT YUSRA SUPDAROWA SAINT GABRIEL’S AALAA ALKHAFAJY JOHN WILSON Officer KEN BURNETT Harp MATTHEW WILSHER COLLEGE, LONDON SARISH AMIR BOARD OF DIRECTORS PHILIPPA HIRST TALULAH YUNKERS SAIRA AMREEN MARKETING RACHEL MASTERS ABIGAIL AMPABENG OPERATIONS NURSES IBRAHIM ARFAN NYO Chair Marketing Manager Orchestral Keyboard RHIANNA BROWN HUMAYRA BEGUM DAME LIZ FORGAN DBE Head of Partnerships SOPHIE GOODWIN JOHN ALLEY SANDRA BARNES ELI JUXON-SMITH NAYEL CHOUDHURY NICK THORNE LAURA CHANDLER MALIK LEDGISTER DAVID BUTCHER MUSICAL TEAM Composition ALISA MOHAMMED JONAH MCCARDELL DONAGH COLLINS Producer, NYO LARRY GOVES Osteopath MOHAMMED TAHMID Violin 1 HAYDEN RAMSAY LYN FLETCHER ROSI CALLERY CEVANNE HORROCKS- ANDREW PATTERSON ADI ZAMAN KYRA HUMPHREYS SAINA SARR ANDREW GAMBRELL HOPAYIAN Producer, NYO Inspire CLARE DUCKWORTH NYO YOUNG PROMOTERS STEPHENJOHN VELASCO Teacher TATJANA MAY ERROLLYN WALLEN SUMITA MENON NATHAN SPOONER LUKE MAYHEW Violin 2 BOW SCHOOL, LONDON Teacher Assistant Conductor MAZDAK SANII Producer, NYO Open SARAH EWINS EWAN CASEMAN PROGRAMME NOTES TIM LINES FEYISARA ADEYEMI DAVID WARBURTON SHANNON HO Viola IBRAHIM ALAM NOTRE DAME CATHOLIC KATY HAMILTON SUPPORT TEAM DEVELOPMENT BOARD Orchestra Administrator RICHARD WATERS IMTIAZ BHUYAN COLLEGE, LIVERPOOL DESIGN ALFIE WHITBREAD Support Team Leader SALLY DJASSI DAVID WARBURTON Cello LILY BOYLE CHRISTOPHER LYDON AHMED DUALE THEM.CO.UK CHRISTOPHER COOKE Stage Manager ADRIAN BRADBURY TIA GRIMES ESEMENA ETEFIA DAME LIZ FORGAN DBE KEVIN ELWICK Senior Youth Worker HEATHER FITZPATRICK PHOTOGRAPHY Double Bass SAZZIL FAIAZ WILDER FULFORD EWAN CASEMAN ESTER LEWANDOWSKA JASON ALDEN Assistant Stage Managers ADAM WYNTER KENZIE FORBES BARONESS LAWRENCE OBE AMY MCALAN MICHAEL DAWSON BILLY COLES Deputies ZAINAB MALIK SAKER NUSSEIBEH ETHAN O'ROURKE FREDDIE JACKSON JO LYNCH IBRAHIM OMAR MOHAMED MICHAEL WALDMAN Flute EMILY SHAW SAM PIERCE JAMIE WHITE NIKIN MULABDIC CHRIS GREEN MAISIE SMITH MANAGEMENT TEAM SARAH WOOLHOUSE JADE AITKEN SEPHORA NZINGA Oboe Head of Music Chief Executive Driver & Logistics IONA ALLAN TAYLOR ROBERTS GORDON HUNT JANINE HART & Artistic Director TREVOR HILL, MIA BAINES CHASE SEIKEGBA Clarinet SARAH ALEXANDER OBE TC TRUCKING CECILIA BIGNALL Head of Music SHIRELAND COLLEGIATE DOUGLAS MITCHELL SVENJA BUHL ACADEMY, BIRMINGHAM Finance & Administration Librarian OWEN BOURNE Bassoon GIUSEPPE CIRASO Director HELEN HARRIS Teacher LEO ALLEN SARAH BURNETT ADAM COLLINS TIM FOXON HODO MOHAMUD BETHANY ARMITAGE CHARLOTTE COX OLIVIA BLISSETT

24 25 YOU ARE TRUSTS AND THE MUSIC… FOUNDATIONS

NYO would like to thank the following trusts and foundations for their support, without WHILE THE which our work would not be possible.

Angus Allnatt Charitable Foundation / Ashley Family Foundation / Baron Davenport’s Charity / Chatwin Trust / CHK Charities Limited / MUSIC LASTS Colwinston Charitable Trust / David Ross Foundation / Dolly Knowles T.S. ELIOT Charitable Trust / Emerton-Christie Charity / Ernest Cook Trust / Esmee Fairbairn Foundation / Fidelity Foundation / Foyle Foundation / Nicholas Phillipson was born in Aberdeen Gamlen Charitable Trust / Ganzoni Charitable Trust / Garfield Weston and demonstrated a keen early interest Foundation / Garrick Charitable Trust / GJW Turner Trust / Lord and Lady in music. Lurgan Trust / Marie-Louise von Motesiczky Charitable Trust / Misses Barrie Attending Aberdeen Grammar School, Charitable Trust / Paul Hamlyn Foundation / PRS for Music Foundation / he was introduced to the oboe and Rowley Trust / Schroder Charity Trust / Sir George Martin Trust / Sir John encouraged to apply for the National Youth Beckwith Charitable Trust / Split Infinitive Trust / The 29th May 1961 Charitable Orchestra of Great Britain. He gained a place in the 1956 orchestra as an oboist. Trust / The Alan Woodfield Charitable Trust / The AM Fenton Trust / The Andor Joining NYO in its first decade, under the Charitable Trust / The Barbara Whatmore Charitable Trust / The Bernarr Rainbow leadership of Dame Ruth Railton, was a Trust / The Blavatnik Family Foundation / The Bliss Trust / The Boltini Trust / transformative experience for him as it The Camelia Trust / The Catherine Cookson Charitable Trust / The Cecil King deepened his interest in music making and continued importance to the national gave him a lifelong passion for the oboe. conversation on youth music-making in Memorial Foundation / The Derek Hill Foundation / The D’Oyly Carte Charitable the U.K. Trust / The Dumbreck Charity / The du Plessis Family Foundation / The Elmley After NYO and university, Dr Phillipson as Foundation / The Hadrian Trust / The Headley Trust / The Houghton Dunn he became, went on to enjoy a successful As an academic, Dr Phillipson looked back Charitable Trust (Mrs Waterhouse Charitable Trust) / The HR Taylor Charitable academic career as a Reader in History at on his time in the orchestra as more than The University of Edinburgh specialising in a training ground for music professionals. Trust / The John Feeney Charitable Trust / The John R. Murray Charitable Trust / the Scottish Enlightenment. Music continued He saw the orchestra as a place to foster The Joyce Fletcher Charitable Trust / The Kirby Laing Foundation / to be a central passion in his life. an interest and participation in music as well. Ian Mactaggart Trust / The Leverhulme Trust / The Liz and Terry Bramall Foundation / The Lord Belstead Charitable Settlement / The Loveday Charitable While in NYO in the 1950s, he performed When Dr Phillipson died in 2018, we at the Usher Hall as part of the Edinburgh received an outpouring of donations from Trust / The Mageni Trust / The Musicians’ Company / The Ofenheim Charitable Festival. Later, as an adult, he would join his many friends and colleagues in the U.K. Trust / The Overfield Trust / The Percy Hedley 1990 Charitable Trust / The Roger the Festival as a council member and was and all around the world. He left a legacy and Sarah Bancroft Clark Charitable Trust / The RVW Trust / The Saintbury Trust / a passionate supporter of music and the in his will so that the music he enjoyed as The Samuel Gardner Memorial Trust / The Sir James Knott Trust / The Stanley arts in Edinburgh. He spoke about NYO with a teenager, and indeed all his life, would friends and appreciated the orchestra’s live on. nyo.org.uk/legacies Picker Trust / The Steel Charitable Trust / The Vernon Ellis Foundation / The Wolfson Foundation 26 27 THANK YOU CORPORATE SUPPORTERS:

INDIVIDUAL Bristow Mr & Mrs Gershinson Musical Charities SUPPORTERS Liz Chen & Hua Zhao SEAT David Richardson Kate Bingham SUPPORTERS & Janet Hilton Michael & Tricia de & Jesse Norman Csilléry Paul Allam Dr R Schofield Jan & Leni du Plessis Allyson Fiddler & Mark Graham Carter Brian Turnbull Alexander Graham Burton John & Diana de la Michael Waldman Steven Larcombe Stuart & Sara Green Cour in memory of 1948 — 1967 & Sonya Leydecker Betty Ashcroft Alumni Group Anthony Harwood Luke & Liz Mayhew & Tanith Carey- David Dutton Harwood & Mave Turner We also acknowledge Michael & Lynne a number of seats McGowan Jangeun Lee Simon Carrington & Alastair Hume which are supported Peter, Judy & Edward Longstaff & by anonymous donors. Alexandra Moorhouse Lana Wood James Elms Peter & Anne Farrar Mr & Mrs Paul Morgan Libbie Mead & Andrew LEGACY Swainston John & Jo Padfield Mark Ford & PLEDGERS Tim & Isla Norwood Stephen Metcalfe Julian Anderson Tim & Dede Sanderson If you are aged 13–18, Annabel & Alex Noton Dame Liz Forgan Rolf & Ewa Stahel Leslie Berry play at Grade 8 distinction David & Fiona Puller Mrs J Fretwell John & Pauline David Carrington JOIN level or equivalent, and Michelle Sanders & Peter Hibbert are totally committed to Tremlett Mary Cordall Bob Stewart Venetia Jennings music... The world’sgreatest Bruno Wang Ann Hall (Taylor) Ruth & Ivan Scheer NYO orchestra of teenagers The Martyn Peter Hibbert needs you. Sarah Snoxall & Ibbotson Fund PARENT Naresh Ramchandani Ursula Jones John Ludlow Be part of NYO and breakthrough DONORS to the next level of orchestral Julia & Paul Warburton Jeremy Poole Claira & Michael Nadia Lasserson brilliance, perform the most Abela Se You & George Hsu Pat & Gus Moore Ian Senior challenging music with the world's greatest conductors and inspire Peter Anstee We also acknowledge Doreen Moorhouse Roger Sirett other teenagers through NYO a number of anonymous Lynton & Jane Appel We also acknowledge Inspire. Also recruiting teenage parent donors Peter, Judy & composers and pianists. Alexandra Moorhouse a number of legacy Olga Balakleets & supporters who wish Auditions are FREE and you will Julian Gallant Julian & to remain anonymous. PRINCIPAL SEAT Caroline Nettel receive feedback. Bursaries are Wendy Black & Allan SUPPORTERS available to cover travel to and Wardrope APPLY Sean Overend NOW from the audition, as well as your Michael & place in the orchestra. Saranne & Simon nyo.org.uk Maria Fischer The Promenaders’ Applications to be a part of NYO BURSARIES AVAILABLE in 2020 will open on 15 April 2019. 28 National Youth Orchestra of Great Britain 10 Great Turnstile THANK London WC1V 7JU YOU FOR REMEMBERING info nyo.org.uk NYO IN @ YOUR WILL 020 7189 8100 nyo.org.uk

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