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Home , Eugene Onegin (opera), Howard Shelley, Iosif Kotek, Jennifer Pike, Roderick Williams, Sergei Prokofiev

Prokofiev £3 Shostakovich

Tchaikovsky PROGRAMME

MICHAEL FOYLE

MIHAI RITIVOIU PIANO

MICHAEL COLLINS CONDUCTOR

WEDNESDAY ENGLISH 16TH MAY CHAMBER 7.30PM CADOGAN HALL Programme welcome

Prokofiev Violin No. 1 in

Shostakovich No. 2 in F major Welcome to the Cadogan Chekhov or Tolstoy in our Hall for what I am sure theatres or an exhibition will be a thrilling evening, such as that which has combining one of the just finished at the Royal Interval world’s great chamber Academy. We celebrate with two brilliant this amidst the turmoil young soloists and the of international relations. Tchaikovsky well-established conductor/ clarinettist Michael Collins. Thank you to the several No. 4 in F minor groups who are supporting We are celebrating three this event – not least the ‘debuts’ this evening. International Business Mihai Ritivoiu piano Michael has been a soloist and Diplomatic Exchange Michael Foyle violin with the English Chamber (IBDE) whose advisory Orchestra and tonight board I have the privilege Michael Collins conductor conducts them for the to chair, and the first time. And CMF artists, City Music Foundation. violinist Michael Foyle English Chamber Orchestra and Mihai Ritivoiu May I also express our Sir Roger Gifford play with the ECO for the grateful thanks to an English Chamber Orchestra first time in their rapidly anonymous donor and Music Society developing careers. and the members of Founder, City Music Foundation Winckworth Sherwood LLP The music tonight reflects for their assistance in the the enormous contribution conception and promotion made by Russian arts to of this event. ’s rich and varied cultural life. Indeed, there probably isn’t an evening of the week throughout the year when there isn’t Rachmaninov or Tchaikovsky or Prokofiev being played in a London concert hall somewhere, Prokofiev

Sergei Prokofiev (1891 – 1953) No. 1 in D major, Op. 19

Premiere: 18th October 1923 ()

Bolshevik (1920) by Boris Kustodiev

War and Revolution Premiere postponed Deserting the Motherland

1917 was arguably the most During the inter-revolutionary By May 1918, Prokofiev had decided his First Violin Concerto A brief moment of pizzicato turbulent year in Russian history. summer, Prokofiev had withdrawn to get out. He later admitted (conducted by Koussevitzky) repose leads to further agitated War with Imperial Germany to the countryside outside that, “I had not the slightest idea shared the stage with Stravinsky’s music, volleys of octaves and brought huge losses at the front Petrograd — “all alone, reading of the scope and significance of for Wind Instruments veracious plucking, but the (around 2 million killed) and sky- Kant and working a great dealing”. the October Revolution. It never (conducted by the composer). movement eventually relents, high inflation and food shortages But war and revolution soon came occurred to me that like any other According to Prokofiev, “the critics the soloist left singing all alone. at home, breeding mutiny and knocking at Prokofiev’s door. “Our citizen I might be of use to it. were divided, [and] some of them The opening tune soon creeps popular demonstrations. The western front had collapsed; it And hence the idea of going to commented not without malice on back into view, first on the forced Tsar was rumoured that Petrograd was America took root in my mind. its ’Mendelssohnisms’”. Composer and then the , adorned Nicholas II to abdicate leading in danger of being taken by the I believed that had no George Auric (one of Les Six) called with a shimmering descant from in 1918 to the formation of a provisional Germans. My mother, who was use for music at the moment.” it a “concerto for dilettantes”, the soloist – whispering in the government, which in turn was taking a cure in the , The Communist Party would of “drowned, in a word, by an stratosphere. What was previously toppled by the October Revolution, decided to remain there for the course commandeer music as orchestral picturesqueness that is ‘dreaming’ is rendered distant and replaced by a Bolshevik-led autumn and I went down to a vital part of its propaganda quite artificial.” We learn from later at times, haunting. government headed by join her, first sending a suitcase machine, but even before leaving, interviews, that Stravinsky rather Vladimir Lenin. with my manuscripts to , Prokofiev was given a foretaste of liked it. Scherzo: a romp of puckish sliding where it was deposited in the its artistic meddling on meeting and screeching (à la Psycho), Reflecting on the February vaults of the Gutheil publishing , the People’s it’s this middle movement Revolution in his autobiography, house.” Now nearly 1500 miles Commissar for Education. “You which may explain the critics’ Sergei Prokofiev writes, “I and away from the action, eventual are a revolutionary in music”, A ‘lyrical’ concerto accusation of “Mendelssohnisms”. those I associated with welcomed news of the October Revolution Lunacharsky told Prokofiev, “we are Its jaunty tunes and militaryesque it with open arms. I was in the was on the one hand, “exciting, revolutionaries in life. We ought to percussion seem to pre-empt streets of Petrograd [now St but so contradictory that it was work together.” Prokofiev’sViolin Concerto No. 1 is Shostakovich’s signature Petersburg] while the fighting was impossible to make out what was a lyrical piece, composed with an acerbic wit. going on, hiding behind house happening.” With the planned During his American sojourn, unusual inside-out design of two corners when the shooting came premiere of the Concerto fast Prokofiev gave concerto slower movements (Andantino Allegro moderato: with its too close.” However, despite the approaching, Prokofiev was set performances in New York and, & Allegro Moderato) around a searing changes of harmonic unrest, 1917 was a bumper year for to return to Petrograd, but soon after making connections in central Scherzo. Prokofiev was direction, the finale returns to the the young Prokofiev. He composed realised that, “it was madness to Chicago, he was commissioned to known in Paris for his more edgy ‘dreaming’ of the first movement, the First Symphony (‘Classical’), think of travelling. A train with write his , The Love for Three compositions, like the as well as harking back to the the 3rd & 4th Piano , smashed windows arrived and a Oranges. Travelling onwards to and the , but playfulness of the Scherzo. As the began the 3rd Piano Concerto, panic-stricken bourgeois crowd Paris in April 1920, he played the reflecting on his musical language movement appears to peter out, and completed his First Violin poured out.” It wasn’t until October vocal score to and in his autobiography, Prokofiev an unexpected flurry of scales from Concerto. The Violin Concerto No. 1923 that the Concerto first met an his star composer, . noted that the “lyrical” was one the soloist injects it with a renewed 1 was originally planned (in 1915) audience and, even then, it was in However, Stravinsky refused to of strands in his musical energy. Supported by weighty as a small work, but Paris in the company of two other listen to anything more than the language. and double grounding, time spent trying to impress the renowned Russian exiles: Serge first act and an argument quickly a much-anticipated feeling great ballet impresario Sergei Koussevitzky and Igor Stravinsky. ensued – according to Prokofiev, Andantino: without introduction, of hope is found, leading to a Diaghilev prevented Prokofiev the two “almost came to blows the soloist leads the opening palpable sense of homecoming from completing it. Returning to and were separated only with movement — marked sognando as the opening sognando tune the “meditative opening” in 1917, it difficulty”. After a short stay in (‘dreaming’) — spinning a returns, twinkling, before drifting grew into a three-movement work (1922), Prokofiev was back wandering melody, conversing off into the distance. with the premiere intended for in Paris in 1923, where despite with solo woodwinds before 4 November of that year. previous differences, growing anxious and impish. (c) Philip Barrett Shostakovich

Dmitri Shostakovich (1906 – 1975) Piano Concerto No. 2 in F major Sergei Prokofiev, and in 1945 Premiere: 10th May 1957 (Moscow)

on the morning of the planned political superiority whilst at orchestra, before wriggling free performance; it would lie silent the same time purging Western into an unaccompanied , until 1961. However, his official influences. After attacks on writers whose angular standing was miraculously and the closure of The State and hand-crossings were surely The Death of Stalin rehabilitated in 1937 with the Museum of Modern Western intended as an opportunity for premiere of his somewhat Art, in 1948 Zhadnov turned his Maxim to show off. The cadenza “forced” 5th Symphony. attention to music, blacklisting gives way to a brief return of At the 20th Congress of the So there was hope, but and criticising Shostakovich — as the opening tune, concluding Communist Party in February Shostakovich was by no means During WW2, Shostakovich well as Prokofiev and Khachaturian an unashamedly jolly opening 1956, Stalin’s successor, Nikita out of the woods. Writing to his drew closer to the Soviet bosom. — for “being formal in art” and for movement. Khrushchev, denounced the late long-term correspondent, Isaak After signing a non-aggression showing “too much respect for dictator. Speaking for over four Glikman, in September 1958 he pact with Nazi Germany, Soviet Western values.” The accusation of Andante: forlorn strings introduce hours, Khrushchev condemned admitted: “In my spare time […] forces soon invaded Finland and ‘formalism’ referred to art written the concerto’s standard bearer, Stalin for his “Cult of Personality” I think about Lady Macbeth and Shostakovich was commissioned purely for art’s sake, as opposed the wistful slow movement. and for “perversions of Party the Fourth Symphony. I should so to write celebratory music for the to something written to glorify The piano’s devastating first principles”. Khrushchev’s damning much like to hear both of these Red Army bands, to be played communist values and its people entry, high above the low string words signalled an emerging works performed.” as they marched victorious — see Shostakovich’s patriotic texture, appears like a shining ray Dmitri Shostakovich in 1950 period of openness (glasnost), through Helsinki; the parade never : Poem of the Motherland through a high window, instantly Credit: (c) Deutsche Fotothek which would become known happened. In 1940 Shostakovich (1947) and The Sun Shines over Our brightening the orchestra’s gloomy as the ‘Khrushchev Thaw’. was awarded a Stalin Prize for Motherland (1952). hue. Becoming lost in sequences, Prior to this, in the 1940s and his Piano and the 7th ‘formal’ music, the soloist presides 1950s, artistic censorship had The Denunciations ‘Leningrad’ Symphony (1942) over the movement, personifying reached an invective height with of Shostakovich helped to cement his continuing its profound bittersweetness. denouncements by official decree approval, standing in solidarity In the light of the 20 or so years and purges, but Khrushchev’s with those fighting under the Pure, ‘formal’ preceding the Concerto, since the message led artists and writers Shostakovich’s first official Nazi siege, all the while veiling his musical beauty beginning of Shostakovich’s official to expect — quite reasonably — a denunciation came in January indignation for enemies closer repudiation, one cannot help but restoration of their expressive 1936, shortly after Stalin attended to home. hear this movement as a heart-felt freedoms. a performance of his hitherto Shostakovich’s Piano Concerto No. tribute to those censured, rubbed hugely successful opera, Lady 2 is surely a prime example of what out, and forgotten in the name of Dmitri Shostakovich knew as well Macbeth of the Mtsensk District Zhadnov aimed to stamp out, Stalin. as any Russian artist what it meant (premiered January 1934). Fulfilling a work of pure, ‘formal’ musical to be castigated, threatened, and Shostakovich’s worst fears, Stalin The Culture War beauty. Written as a gift for his Allegro: but, denying the audience officially denounced, twice: both in left with his entourage before the son Maxim, a talented pianist and a moment’s reflection, the third 1936 and 1948. But Stalin’s death final scene and two days later, By the end of war, Russia had later conductor, the Concerto was movement springs into life without (5th March 1953) and the ensuing an anonymous article appeared suffered vast losses, — nearly premiered on his 19th birthday as a break, restoring the optimistic thaw prompted the now nearly in Pravda, the Party’s official 27 million, both at home and part of his graduation from the sound-world of the first movement. 50-year-old composer to begin mouthpiece. Titled ‘Muddle in combat — but in driving the . The use of this seemingly revealing his true colours once Instead of Music’, it condemned Nazis out of Eastern Europe, the insensitive segue speaks volumes more. In December 1953 the 10th the opera as “coarse, primitive Soviet Bloc was formed and a Allegro: after a short woodwind of Shostakovich’s experience of Symphony, supposedly a portrait and vulgar”; Lady Macbeth wasn’t new war emerged as the West introduction, the soloist perseverance, of getting on with of Stalin himself, was premiered performed again until 1962 and, attempted to contain Soviet immediately introduces the main life, despite it all. The movement in Leningrad (St Petersburg), eight even then, in a revised version. expansionism. In this developing theme, which, played in octaves, indeed marches on; its relentless years since the officially-maligned At the time of his denunciation, geopolitical freeze, culture became walks along the keyboard with passage-work recalls the keyboard 9th Symphony; the Violin Concerto, Shostakovich was working on his both weapon and target and swagger and vim. The rap of a exercises with which Maxim locked away in a desk drawer since Mahler-influenced th4 Symphony, 1946 saw the development of snare drum soon leads to strident would have been all too familiar, 1948, was premiered in December which was scheduled for premiere zhdanovshchina, a cultural policy and triumphant music before their mechanical, almost vacant 1953; in 1957 he wrote his 2nd in December 1936. But fearful written by Stalin’s chief of ideology, the soloist continues his scalic character summoning that famous Piano Concerto; and in May 1958 of further condemnation and . Victorious and wanderings, as if being chased Shostakovich wit. he was officially ‘rehabilitated’ by worse, a knock from the secret expanding, Zhadnov sought to by the orchestra. The soloist is 6 the Central Committee. police, Shostakovich withdrew it promote Russia’s cultural and eventually consumed by the (c) Philip Barrett Tchaikovsky

Pyotr Ilyich Tchaikovsky (1840-1893) Symphony No. 4 in F minor Premiere: 10th February 1878 (Moscow) “an unburdening of the soul in music”

“Why did I do this?” he wrote It was from Florence, in February of the main theme leads to a re- to Meck, just three days before 1878, that Tchaikovsky penned his run of the same emotional journey, the wedding, “It seemed to me ‘translation’ of the Symphony No. which inevitably leads back to the now as though some force of 4 for Nadezhda von Meck. “In our ‘Fate’ theme once more, framing Patron, pen pal, lover? Fate was driving me to this girl. symphony there is a programme, and constraining the movement. When we met, I explained to her i.e. it is possible to express in words “P.S. Just as I was about to put Yet despite their affectionate that I entertained nothing but what it is trying to say” he writes to Andantino in modo di canzona: the letter in an envelope, I re- correspondence, the two never sympathy and gratitude for her Meck, but it is important to note “The second movement of the read it and was horrifi ed at the met and, in 1890, Meck cut off her love. But when I had parted from that Tchaikovsky was explaining symphony expresses another incoherence and inadequacy of fi nancial support without warning her, I began to think over the the Symphony to her nearly a year aspect of sadness.” In this slow the programme I sent to you. This and with it, their friendship thoughtlessness of my conduct. If I after completing the majority movement, Tchaikovsky’s lonely, is the fi rst time in my life that altogether. But Meck wasn’t the did not love her, if I did not wish to of the composition. The fi rst melancholic theme neatly I have attempted to translate only woman in Tchaikovsky’s life at encourage her feelings, then why three movements were sketched captures the bittersweetness of musical thoughts and images into this time. had I visited her, and what would between March and May 1877, just memories, but realising its full words, and I could not manage to be the consequence of all this?” as Tchaikovsky was succumbing to expressive potential in the hands of do this adequately. I was severely Milyukova’s fateful letter. the orchestra united, he achieves a in 1877 depressed last winter when writing sense euphoria once more. the symphony, and it serves as Andante sostenuto: “This is a faithful echo of what I was Tchaikovsky’s Fate”, wrote Tchaikovsky about Scherzo: according to Tchaikovsky, experiencing. But it is known as an real-life Tatyana Unhappily married the clarion call which grips the “The third movement expresses echo.” opening of the Symphony; “this is no specifi c feeling.” The strings, that fateful force which prevents pizzicato throughout, alternate From a letter written by In March 1877 Tchaikovsky After marrying Milyukova in July the impulse to happiness from with whimsical woodwinds and Tchaikovsky to Nadezhda von received an unsolicited letter, a 1877, Tchaikovsky promptly left attaining its goal”. The ‘Fate’ motif “somewhere in the distance, a Meck (17th February 1878) confession of love no less, from her later that month, travelling to dominates this long -form military procession passes.” Antonina Milyukova. Tchaikovsky stay with his sister in modern-day movement, but after its fi rst The story of Pyotr Ilyich had fi rst met Milyukova, a ; on returning to Moscow proclamation, its bite is softened, Finale: it’s here that Tchaikovsky Tchaikovsky’s Symphony No. 4 professional pianist, through over a month later, he lived with giving way to an unsettled, seems to fi nd an answer to his reads more like a Pushkin novel a tenuous connection in May Milyukova for just another twelve out-of-step fi rst subject. This troubles: “If within yourself you than a Russian political history; 1872 and subsequently invited days before leaving her for good. descending, syncopated melody is fi nd no reasons for joy, then look a tale of letters, love, and misery. her to one of his premieres later Fleeing initially to St Petersburg, soon whipped into music of high at others. Go out among the A week after the Symphony’s that month. However, their he went on to Switzerland, passion, the strings underpinned people.” An ebullient introduction premiere in Moscow (10th February relationship developed no further beginning a six-month European by incisive brass and woodwind. “Is announces a Russian folksong 1878), Tchaikovsky was already in the intervening years, despite exile. There remains little doubt it not better to escape from reality — ‘In the Field stood a Birch responding to the plaudits of his Milyukova loving Tchaikovsky that it was Tchaikovsky’s repressed and to immerse oneself in dreams”, Tree’ — which in Tchaikovsky’s patron, Nadezhda von Meck. As “secretly” from afar. It seems homosexuality that precluded writes Tchaikovsky, describing the dexterous hands is rendered his patron, she supported him a fi tting coincidence, that in any success for this already ill- lightly rising second theme, heard both sinister, with low brass and for over a decade with a regular the same year as Milyukova’s conceived relationship. Having fi rst on the clarinet, answered by scurrying strings, and pretty, by stipend and several hundred letter, Tchaikovsky should turn confessed his love for a violinist, the fl ute. “Oh joy! Out of nowhere dancing woodwinds. A reprise of letters expressing a deep interest to dramatising Pushkin’s great Iosif Kotek, in a letter to his brother a sweet and gentle day-dream the opening celebration closes in his work; they were in constant novel, Eugene , a story Modest Tchaikovsky before the appears”, he continues, as the abruptly like a ballet number, contact throughout the writing of which hinges on a love letter sent marriage, he wrote to another strings take that lilting theme and leading to more refl ective music, the Symphony (1877-78), which he by the romantic Tatyana to the brother Anatoly from Florence: from it fi nd a moment of blissful which fades almost to nothing; dedicated to her. In his letters, he eponymous hero. But unlike the “Only now, especially after the repose. From dreamy abandon almost. Just as his aborted referred to her as his “best friend”, loveless Onegin, Tchaikovsky tale of my marriage, have I fi nally Tchaikovsky soon fi nds something marriage would hang over “my precious Nadezhda”, and she began a correspondence with begun to understand that there all the more euphoric; but fate is Tchaikovsky for many years, so would write telling him, “that my Milyukova and on 20th May 1877, is nothing more fruitless than not never far away, “and thus all life is “irrepressible fate appears again feeling for you is a thing of the they met; three days later wanting to be that which I am an unbroken alternation of harsh and reminds you of yourself.” spirit and very dear to me.” Tchaikovsky proposed. by nature”. reality with fl eeting dreams and 8 visions of happiness”. The reprisal (c) Philip Barrett Credit: (c) Benjamin Ealovega Credit: (c) Broadway Studios Michael Collins Michael Foyle conductor Violin

Michael Collins is one of the Philharmonie, Kyoto Symphony and . Praised for “playing of compelling Concerto in the Great Hall of mark of the year. At the same time, most complete musicians of his Orchestra, BBC Concert Orchestra His ensemble, London Winds, conviction” (The Daily Telegraph) Moscow Conservatory and has Michael won the Royal Overseas generation. With a continuing, and Kuopio Symphony Orchestra, celebrates its thirtieth anniversary and “full of sparkling detail, given recitals for the Cervantino League String Competition, distinguished career as a soloist, and tours in South Africa, Australia, in 2018. During the 2019-20 with tonal beauty and incisive Festival in Mexico, New York while his acclaimed duo with he has in recent years also become Japan and Mexico. season Collins will be an Artist in rhythmic clarity, balancing wit Festival, and pianist Maksim Štšura won the highly regarded as a conductor. Residence at the and poetry” (The Strad), Michael Evgeny Mravinsky Festival in Beethoven Piano Society of Europe Recent guest and This year Michael will perform at which will include concerts with Foyle won The Netherlands Violin Tallinn and St. Petersburg. This Competition and the Salieri-Zinetti play-directing highlights have the BBC Young Musician 40th Stephen Hough, the Piano Competition 2016. His acclaimed year, he records his debut CDs: International Chamber Music included engagements with the Anniversary BBC Prom, make his Trio, Leonard Elschenbroich and performance of Szymanowski’s the complete works for violin Competition. He subsequently Melbourne Symphony Orchestra, conducting debut with the English Michael McHale. Violin Concerto No. 1 with and piano by Lutosławski and performed as a Park Lane Group, BBC Symphony Orchestra and the Chamber Orchestra, and perform the Rotterdam Philharmonic Penderecki for Delphian Records, Kirckman Concert Society and Zurich Chamber Orchestra. From with the Michael Collins records for Orchestra led to an immediate and a World War One centenary Making Music Young Concert 2010–2018 he was the Principal and the Academy of Ancient Chandos, and in his prolific invitation to give his debut release for Challenge Records. Artist, and is currently a City Music Conductor of the City of Music. He also hosted a series recording career he has covered recital at The Concertgebouw, Foundation ambassador. London Sinfonia. of ‘Michael Collins and Friends’ an extraordinarily wide range Amsterdam. In the 2017-18 season, Born in Ayrshire in 1991, Michael concerts at LSO St Luke’s, recorded of solo repertoire, which also highlights include returning to the gave his concerto debut in Michael plays a Gennaro Gagliano Other recent highlights include for broadcast on BBC Radio 3, includes releases on Deutsche Rotterdam Philharmonic Orchestra Edinburgh Festival Theatre aged violin (1750) on loan from a CMF a return to the Philharmonia featuring the Heath Quartet, Grammophon, Decca, EMI and and performing with Ailish Tynan eight. He went on to win the BBC supporter, and is represented by Orchestra as conductor; Leonard Elschenbroich, Lawrence Sony. He is one of the world’s most and Iain Burnside at The Ludlow Young Musician of the Year Tabor Interartists Amsterdam. performances worldwide with Power and Michael McHale. recorded clarinettists, having made English Song Weekend. Award 2008 and to lead the orchestras including Minnesota no fewer than nineteen discs for National Youth Orchestra of Great Orchestra, Swedish Chamber Chandos alone. In the past two seasons, Michael Britain, before studying at the Orchestra, the Rheinische In great demand as a chamber has made his recital debuts Vienna Konservatorium with Pavel musician, Collins performs In the Queen’s Birthday Honours of at Wigmore Hall, Southbank Vernikov and at the Royal Academy regularly with the Borodin, Heath 2015, Michael Collins was awarded Centre, St. Martin-in-the-Fields, of Music in London where, upon and Belcea quartets, András an MBE for his services to music. Bridgewater Hall, Usher Hall and graduation, he was awarded the Schiff, , Stephen He plays on Yamaha . Buckingham Palace. Abroad, he Regency Prize for Excellence and 10 Hough, , Lars Vogt, has performed Brahms’s Violin the Roth Prize for the highest violin Credit: (c) Benjamin Ealovega Mihai Ritivoiu piano City Music Foundation returns to The Wallace Described as “a strong but Havill. During his studies he took as well as his desire to speak Collection for its third rd sensitive player” (Classical Source), part in masterclasses with Dmitri beyond the piano: “In choosing Summer Residency Monday 23 July Romanian pianist Mihai Ritivoiu Bashkirov, Dominique Merlet, the repertoire for my first CD Eblana String Trio is the laureate of numerous Emmanuel Ax and Richard Goode. recording, I found myself drawn to (23rd-27th July). Beethoven and Moeran international competitions three works which, albeit different, including the George Enescu In 2010 Ritivoiu won the Dinu all transcend the boundaries of International Piano Competition Lipatti National Competition merely pianistic music”. The album Tuesday 24th July in Bucharest. He has given recitals in Bucharest and he is also a has already been streamed over 2018 marks the 200th birthday of Sir Richard Gwenllian Llyr (harp) throughout the UK, Romania, laureate of the Tunbridge Wells 50,000 times on Spotify and was Wallace, whose widow, Lady Wallace, Pierné, Debussy, and Scriabin Switzerland, Germany, and Japan, International Young Concert Artist released on the Leipzig-based bequeathed the art collection and gallery and has performed Competition (2014) and the Teresa label, Genuin. with the Bucharest Philharmonic Llacuna International Competition (Hertford House) to the nation in 1897. Sir Wednesday 25th July Orchestra and Lausanne (2015). His performances have been Mihai is a City Music Foundation Richard was a prolific philanthropist who Abner Jairo Ortiz García () Chamber Orchestra. recorded and broadcast by Medici Artist, a Yeoman of the Worshipful supported both the Arts and humanitarian (CMF International Scholar) TV, Radio Romania Muzical, Radio Company of Musicians, and causes throughout his life, as well as serving as Born in Bucharest, Ritivoiu Suisse Romande’s Espace 2, and has received generous support graduated with the highest he has been a guest on BBC Radio from the Liliana and Peter Ilica an MP for Lisburn, Northern Ireland Thursday 26th July honours from the National 3’s In Tune. Foundation for the Endowment (1873-1885). Rokas Valuntonis (piano) University of Music, before of the Arts, the Erbiceanu Cultural Chopin, Debussy and Gounod/Liszt obtaining a Master’s and Artist In March 2018 Ritivoiu released his Foundation, and the Ratiu Family CMF’s Summer Residency will include five Diploma from the Guildhall debut solo album, ‘Transcendence’, Charitable Foundation. School of Music & , where a recording of large-scale solo lunchtime concerts given by CMF Artists, each of Friday 27th July he studied with Professor Joan works by César Franck (Prélude, which will include music that reflects Wallace’s Lotte Betts-Dean (mezzo-) Choral et Fugue), George Enescu life and times. A selection of French songs and arias ( No. 1) and Franz Liszt (Piano Sonata in B minor). Ritivoiu’s choice of repertoire pays Wallace Collection, Square, W1U 3BN 12 homage to his Romanian heritage Each day, 1pm, Free to attend The English Chamber Orchestra is the most recorded chamber Orchestral orchestra in the world, its List discography containing 891 recordings of over 1,500 works by more than 400 composers.

The ECO has also performed in returned from a sold-out European First Bass more countries than any other tour with Julian Rachlin including John Mills Paul Sherman Colin Sheen orchestra, and played with many performances in Hungary, Slovenia Jamie Campbell David Johnson David Whitson of the world’s greatest musicians. and Austria culminating in a Richard Milone Josie Ellis Dan West The American radio network CPRN concert at the Musikverein Lucy Jeal Marianne Schofi eld has selected ECO as one of the in Vienna. world’s greatest ‘living’ orchestras. Maria Spengler Tuba The illustrious history of the The Orchestra has been chosen Jake Rea Flute Jim Anderson orchestra features many major to record many successful fi lm Kate Robinson Claire Wickes musical fi gures. soundtracks including Dario Robert Yeomans Chloe Vincent was the orchestra’s fi rst Patron and Marianelli’s prizewinning scores Jonathan Storer David Corkhill a signifi cant musical infl uence. for Atonement and Pride and Caroline Bishop Piccolo The ECO’s long relationship with Prejudice, and several James such great musicians as Slava Bond soundtracks, and has taken Marta Santamaria Percussion Patron: Rostropovich, Pinchas Zukerman, part in a variety of other fi lm and Second violins Stephen Burke HRH The Prince of Wales and earlier with Daniel Barenboim television projects. Katerina Nazarova Tim Barry led to an acclaimed complete Matthew Elston Peter Facer Glyn Matthews cycle of Mozart piano concertos as The ECO is proud of its outreach Edward Bale Maxwell Spiers live performances and recordings, programme, Close Encounters, Sarah Thornett Harp followed later by two further which is run by the musicians in Nicolas Dupont Clarinet Hugh Webb recordings of the complete cycle, the orchestra and takes music into with Murray Perahia and many settings within communities Anya Birchall Anthony Pike Mitsuko Uchida. and schools around the UK Djumash Poulsen Jill Turner General Management and abroad. Kana Kawashima Fabio Sarlo In the 2017/2018 Season the Lydia Brookes Orchestra performed across the This month, the ECO is honoured Ursula Leveaux UK including at London’s Barbican, to be participating in the Roger Chase Claire Webster Cadogan Hall and Kings Place ceremony for the Royal Wedding Lydia Lowndes-Northcott with artists such as Julian Rachlin, and looks forward to a busy Christian Zacharias, Tenebrae, summer on tour at the Lucerne Daisy Spiers Horn Jennifer Pike, Nicolas Altstaedt, Festival and in Turkey, performing Cara Coetzee John Thurgood Tasmin Little and Howard Shelley. with Guher and Suher Amanda Denley James Pillai In October 2017 ECO toured Pekinel at the Izmir and Istanbul Julian Latham Carsten Williams in Mexico with José Serebrier music festivals. The Orchestra looks Elise Campbell including two concerts at the forward to returning to Cadogan Jonathan Bareham Palacio de Bellas Artes in Mexico Hall for its 2018/19 London Season. Tim Lowe City and in November they Richard Birchall Alexandra Mackenzie Simon Munday Find out more at Jessie Ann Richardson John Hutchins Eve Heyde www.englishchamberorchestra.co.uk Dietrich Bethge Follow and engage with the ECO on Facebook, Twitter (@ECOrchestra) 14 and Instagram cmf

CMF Team

Dr Clare Taylor, Managing Director

Tabitha McGrath, Artist Manager

Philip Barrett, Executive Assistant

Trustees Sir Mark Boleat Sir Roger Gifford Sir Nicholas Kenyon Sir Andrew Parmley

Advisory Board Guy Harvey, Partner, Shepherd and Wedderburn Wim Hautekiet, Managing Director, JP Morgan Alastair King, Chairman, Naisbitt King Asset Management Kathryn McDowell CBE, Managing Director, London Symphony Orchestra Lizzie Ridding, Board Member, City Music Foundation Ian Ritchie, Artistic Director and Music Curator, Setubal Music Festival Seb Scotney, Editor, London Jazz News To support CMF donate via CAF at citymusicfoundation.org/support Philip Spencer, Development Consultant Adrian Waddingham CBE, Partner, Barnett Waddingham or by texting ‘CMFD01 £10 to 70070 Patrons Our mission is to turn exceptional workshops. These cover a range of Finally the musicians are fully Alison Balsom musical talent into professional topics such as managing finances, supported by CMF in devising, Ian Burnside success by equipping outstanding tax and pensions, legal input on organising, funding and promoting musicians with the tools, skills, copyright and contracts, plus a bespoke musical project to help Simon Callow CBE experience and networks they presentation and interview skills, them develop a unique niche and Jacqui Dankworth need to build and sustain promotion and publicity strategies selling point. rewarding and profitable careers. and much more. Amy Dickson We believe that by investing in Plácido Domingo KBE Through an annual competitive CMF’s key position in the City these talented musicians early in audition process we select classical means that we can use our their professional careers we can Sally Matthews soloists and chamber ensembles, experience, knowledge and not only secure their employment, Jennifer Pike as well as jazz, folk and world connections within the music but help to ensure the of musicians. These ‘CMF Artists’ then industry, City institutions and quality music in the UK Joan Rodgers CBE engage in an innovative two- the corporate world to provide and beyond. Simon Russell Beale year programme which includes unique and unrivalled support artistic and business mentoring as and education for our musicians. Sir Richard Stilgoe OBE well as professional development In addition we work with the CMF Roger Vignoles Artists to develop promotional tools, such as websites, photos, Brodsky Quartet recordings and videos, and the Artist Manager arranges live 16 performance opportunities. 19679 Steinway CMF Cadogan Hall (Penthouse/Esch).qxp_Layout 1 08/05/2018 14:44 Page 1

Swords and Ploughshares “The Steinway is not only an instrument, it is a work of art of the first rank.” CHRISTOPH ESCHENBACH St Giles-without-Cripplegate – St Mary-le-Bow – St Bartholomew the Great – St Stephen Walbrook in the City of London STEINWAY ARTIST A new festival of beautiful music and words in stunning historic London churches, marking one hundred years since the end of the Great War June 2018

Thursday 21 June 7.30pm Monday 25 June 7.30pm Wednesday 27 June 7.30pm Friday 29 June 7.30pm Storm and Refuge A Breath of Hope Gathering Storm Clouds Flowers of the Field Elgar Great is the Lord – Elgar Give Music by Holst, Finzi, Ravel, Music by Gurney, Ireland, Vaughan Warlock Capriol suite unto the Lord – Holst Nunc dimittis Vaughan Williams, Lili Boulanger, Williams, Delius, Butterworth Songs from – Duruflé Requiem , Poulenc Mark Bebbington, piano ‘A Shropshire lad’ and The City of London Choir New London Chamber Ensemble with Rebeca Omordia, piano banks of green willow Marta Fontanals-Simmons, mezzo soprano and Irene Loh, piano Patrick Hawes I know the music Hilary Davan Wetton, conductor Tuesday 26 June 7pm Vaughan Williams The lark Thursday 28 June 6pm ascending Friday 22 Jun 7pm All Earthly Things Above: Finzi Requiem da camera Farewell to Arms , The Planets City of London Choir How are the Mighty Fall’n Songs by Howells, Gurney, Ireland, The Planets Suite in the composer’s London Mozart Players Includes Brahms Geistliches Finzi, James Macmillan woven Hilary Davan Wetton, conductor – Parry Songs of farewell – own transcription for piano duet together with stories from letters Shostakovich Quartet no.8 – with poetry written at the Front York2: John York and Fiona York, Promoted by Kestrel Music. Septura Brass Septet Richard Robbins, piano duet Guy Murgatroyd, piano Follow us on: Saturday 23 June 7.30pm Jo Blake Cave, story-teller @kestrelmusicpromotions Wednesday 27 June 1pm @kestrel_music After You’ve Gone: ‘National Gallery’ For full details and booking, please visit Weimar Cabaret and Lunchtime Piano Recital Prohibition Songs Music by Beethoven, Brahms, www.SummerMusicCityChurches.com Music by , Friedrich Chopin and J.S. Bach – in tribute to Hollaender, Irving , Cole Dame Myra Hess Porter, and more. Adrian Brendle, piano Mary Carewe, soprano with Harry the Piano

WWW.SUMMERMUSICCITYCHURCHES.COM

With grateful thanks to an anonymous donor and the Members of Winckworth Sherwood LLP for their assistance in the planning, conceiving and supporting of this event.

CMF would also like to thank:

Bell Percussion Lydia Brookes Costa Peristianis Fabio Sarlo Helen Warner

Steinway Hall 44 Marylebone Lane London W1U 2DB

For more information or to arrange a private appointment 18 at our London showrooms, please call: 0207 487 3391 or email [email protected] www.citymusicfoundation.org [email protected] @CityMusicF

Registered Charity Number: 1448641