A1 KROMMER Symphonies: No. 1 in F, Op. 12
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London Mozart Players Wind Trio When He Left to Focus on His Freelance Career
Timothy Lines (Clarinet) Timothy studied at the Royal College of Music with Michael Collins and now enjoys a wide- ranging career as a clarinettist. He has played with all the major symphony orchestras in London as well as with chamber groups including London Sinfonietta and the Nash Ensemble. From 1999 to 2003 he was Principal Clarinet of the London Symphony Orchestra and was also chairman of the orchestra during his last year there. From September 2004 to January 2006 he was section leader clarinet of the City of Birmingham Symphony Orchestra, London Mozart Players Wind Trio when he left to focus on his freelance career. He plays on original instruments with the English Baroque Soloists, the Orchestre Revolutionnaire et Romantique and the Orchestra of Thursday 12th March 2020 at 7.30 pm the Age of Enlightenment and is also frequently engaged to record film music and pop music Cavendish Hall, Edensor tracks. Timothy is Professor of Clarinet at both the Royal College of Music and the Royal Academy of Music, and is the clarinet coach for the National Youth Orchestra of Great Britain. In March 2016 he was awarded a Fellowship of the Royal College of Music and was later that year invited to become Principal Clarinet of the London Mozart Players. Concert Champêtre H. TOMASI Gareth Hulse (Oboe) (1901-1971) After reading music at Cambridge, Gareth Hulse studied with Janet Craxton at the Royal Divertimento K439b W.A. MOZART Academy of Music, and with Heinz Holliger at the Freiburg Hochschule fur Musik. On his (1756-1791) return to England he was appointed Principal Oboe with the Northern Sinfonia, a position he has since held with English National Opera and the London Philharmonic. -
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. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live. -
St John's Smith Square Our History
St John’s Smith Square © Matthew Andrews Square Smith John’s St THANK YOU! ST JOHN’S SMITH SQUARE St John’s Smith Square is very grateful to all the Friends, —— Companies and Trusts and Foundations who have generously supported our work during the 2015/16 Season. “Just to come across it in —— that quiet square is an event. J Allen W Halon P Privitera C J Apperley Angela and David Harvey Kenneth Robbie To enter it, to enjoy its spaces, Michael Archer Hay Kenelm Robert Alain Aubry A Herrero-Ducloux The RVW Trust to listen to fine music within its Anonymous Dr S Hill Chris Saunders Dr J Baker Prof Sean Hilton Donna Schofield walls is an experience not to be Dennis Baldry The Hinrischen Foundation Philip Searl Hannah Baldwin A L Hoile Baroness Sharples matched in conventional concert David Ballance Colin Howard E Siebert Mr and Mrs Dickie S Hughes B W Silverman halls and is a lasting tribute to Bannenberg Ingenious Lynne Simmons M Barrell J A James B Singleton the man who designed it.” Dr Desmond Bermingham G Jenkins Judy Skelton B Bezant Glenn Jessee L A Skilton Sir Hugh Casson Michel-Yves Bolloré M Joekes Sarah-Jane Sklaroff Antoine Bommelaer Christopher Jones Dr Martin Smith Michael Bowen Jacqueline Kilgour Philip and Wendy Spink P Bowman Jocelyn Knight Steinway & Sons Sir Alan and Lady Bowness R Lab Daniel Stephens Clare Bowring Andrew Langley Samuel D P Stewart Joanna Brendon Jane Law Marilyn Stock Ian Brown In memory of J.P Legrand Ilona Storey C Brunell Alan Leibowitz D Sugden Burberry Adrian Lewis John Taylor Inside cover & page 1 -
Download Booklet
a song more silent new works for remembrance Sally Beamish | Cecilia McDowall Tarik O’Regan | Lynne Plowman Portsmouth Grammar School Chamber Choir London Mozart Players Nicolae Moldoveanu It was J. B. Priestley who first drew attention Hundreds of young people are given the to the apparent contradiction on British war opportunity to participate as writers, readers, memorials: the stony assertion that ‘Their Name singers and instrumentalists, working in Liveth for Evermore’ qualified by the caution collaboration with some of our leading ‘Lest We Forget’. composers to create works that are both thoughtful and challenging in response to ideas It is a tension which reminds us of the need for of peace and war. each generation to remember the past and to express its own commitment to a vision of peace. E. E. Cummings’ poem these children singing in stone, set so evocatively by Lynne Plowman, The pupils of Portsmouth Grammar School are offers a vision of “children forever singing” as uniquely placed to experience this. The school images of stone and blossom intertwine. These is located in 19th-century barracks at the heart new works for Remembrance are an expression of a Garrison City, once the location of Richard of hope from a younger generation moved and the Lionheart’s palace. Soldiers have been sent inspired by “a song more silent”. around the world from this site for centuries. It has been suggested that more pupils lost their James Priory Headmaster 2008 lives in the two World Wars than at any other school of comparable size. Today, as an inscription on the school archway celebrates, it is a place where girls and boys come to learn and play. -
Pandora's Last Gift Was Born
Pandora’s Last Gift - chamber music by Christopher Wright 1 Wind Quintet 11.37 8 The Long Wait (Elegy) 9.35 Nichola Hunter (flute), Lisa Osborne (oboe), Elizabeth Jordan (clarinet), Lesley-Jane Rogers (soprano), John Turner (recorder), Naomi Atherton (horn), Sarah Nixon (bassoon) Jonathan Fisher (piano) 2 Spring’s Garden 4.15 In Celebration 7.03 Richard Williamson (viola), Jonathan Fisher (piano) 9 I Allegro vivace 1.26 10 II Misterioso 3.30 3 Orfordness 9.29 11 III Presto con forza 2.07 Nichola Hunter (flute). Nicholas Ward (violin), Tim Smedley (cello), John Turner (recorder), Nicholas Ward & Catherine Muncey (violins), Jonathan Fisher (piano) Michael Dale (viola), Tim Smedley (cello) 4 Capriccio 9.08 12 Helter-Skelter 3.21 Elizabeth Jordan (clarinet), Jonathan Fisher (piano) Tim Smedley (cello), Jonathan Fisher (piano) Spirit of the Dance 9.35 Concertino 12.56 5 I Rejouissance 2.36 13 I Allegro ritmico 4.04 6 II Air 4.18 14 II Tranquillo 5.39 7 III Tarantella 2.40 15 III Allegro vivace 3.12 John Turner (recorder), Richard Howarth (violin), Tim Smedley (cello), Nicholas Ward & Catherine Muncey (violins), Harvey Davies (harpsichord) Richard Williamson (viola), Jonathan Fisher (piano) Total CD duration including pauses: 77.50 A personal note by the composer The music on this CD was composed over the last thirty years and represents a diverse output in both musical style and emotional content. It is, in a sense, a narrative of my own life rather than a chronological order of compositions. To try and impose a collective meaning to all this, I turned to the well worn myth of Pandora but with a change of emphasis – so the title Pandora's Last Gift was born. -
Biographies Craig Ogden, Guitar David Juritz, Violin
Biographies Craig Ogden, guitar Described by BBC Music Magazine as ‘A worthy successor to Julian Bream’, the Australian- born guitarist Craig Ogden is one of the most exciting artists of his generation. He studied guitar from the age of seven and percussion from the age of thirteen. In 2004, he became the youngest instrumentalist to receive a Fellowship Award from the Royal Northern College of Music in Manchester. One of the UK’s most recorded guitarists, his recordings for Virgin/EMI, Chandos, Nimbus, Hyperion, Sony and Classic FM have received wide acclaim. Craig Ogden has performed concertos with many of the world’s leading orchestras including the Hallé, BBC Concert Orchestra, Orquesta Sinfónica de Navarra, RTÉ Concert Orchestra, London Philharmonic Orchestra, Ulster Orchestra, Spanish Symphony Orchestra, Orchestra of Opera North, Royal Northern Sinfonia and the Royal Liverpool Philharmonic. In 2015, Craig was asked to step in at short notice for the indisposed Miloš Karadaglić and performed a series of concerts on tour with the Royal Northern Sinfonia at major UK concert halls and again in 2016 with the Royal Northern Sinfonia and the English Chamber Orchestra, both tours receiving critical acclaim. In 2019, Craig presented his own programme of “The Celebration of the Guitar” with Manchester Camerata which showcased the guitar in various styles. Numerous composers have written works for him and in 2017 Craig gave the world premiere of Andy Scott’s guitar concerto with the Northern Chamber Orchestra followed by the Australian premiere in Perth. He gave the world premiere of ‘Il Filo’, a double concerto for guitar and accordion by David Gordon with Miloš Milivojević in Summer 2019 and will be giving the world premiere of a concerto written for him by David Knotts with the BBC Concert Orchestra in March 2022 at the Queen Elizabeth Hall, recorded by BBC Radio 3. -
Michael Collins Clarinet / Conductor
Michael Collins Clarinet / Conductor Ikon Arts Management Ltd 2-6 Baches Street +44 (0)20 7354 9199 “Brilliant playing in every sense.” Classic FM [email protected] www.ikonarts.com Contact Costa Peristianis Email [email protected] Michael Collins is one of the most complete musicians of his generation. With a continuing, distinguished career as a soloist, he has in recent years also become highly regarded as a conductor. Recent guest conducting and play-directing highlights have included engagements with the Melbourne Symphony Orchestra, BBC Symphony Orchestra and the Zurich Chamber Orchestra. From 2010 – 2018 he was the Principal Conductor of the City of London Sinfonia. Recent highlights include a return to the Philharmonia Orchestra as conductor; performances worldwide with orchestras including Minnesota Orchestra, Swedish Chamber Orchestra, the Rheinische Philharmonie, Kyoto Symphony Orchestra, BBC Concert Orchestra and Kuopio Symphony Orchestra, and tours in South Africa, Australia (with the Melbourne Symphony Orchestra), Japan and Mexico (with the Orquesta Sinfónica Nacional). This year Michael will make his conducting debut with the English Chamber Orchestra and perform with the London Mozart Players. In July 2018 he performed at the BBC Young Musician 40th Anniversary BBC Prom. He also recently hosted a series of ‘Michael Collins and Friends’ concerts at LSO St Luke’s, recorded for broadcast on BBC Radio 3, featuring the Heath Quartet, Leonard Elschenbroich, Lawrence Power and Michael McHale. Michael Collins has been committed to expanding the repertoire of the clarinet for many years. He has given premières of works such as John Adams’ Gnarly Buttons, Elliott Carter’s Clarinet Concerto - for which he won a Gramophone award for his recording on Deutsche Grammophon - and Brett Dean’s Ariel’s Music and Turnage’s Riffs and Refrains, which was commissioned by the Hallé Orchestra. -
International Conducting Studies Conference 2018 21St – 23Rd June St Anne’S College University of Oxford
International Conducting Studies Conference 2018 21st – 23rd June St Anne’s College University of Oxford International Conducting 2018 Studies Conference 21-23 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute International Conducting Studies Conference 2018. The conference brings together 40 speakers from around the globe, presenting on a wide range of topics that demonstrate the rich and multifaceted realm of conducting studies. The discipline of conducting is at the core of a multitude of global musical endeavours, continually shaping musical practices and experiences in substantial ways. Scholars and practitioners have explored, and continue to explore, historical, philosophical, social and psychological aspects of conducting across a wide range of practices; The OCIICSC 2018 aims to bring together these diverse perspectives in the pursuit of a shared and more cohesive knowledge. While professional organizations and educational institutions have worked to develop the field through conducting master-classes and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, researchers and practitioners are rarely in dialogue about these findings and experiences. The OCIICSC 2018 seeks to redress this by continuing the conversation fostered at the 2016 conference, again bringing together practitioners and researchers to participate in productive and scholarly dialogue. We hope that this conference will provide a fruitful exchange of ideas and again serve as a catalyst for the further development of the topic of Conducting Studies. The OCI International Conducting Studies Conference 2018 Committee Dr Cayenna Dr John Traill Prof. -
Championing a Sound Investment
A Sound Investment The mixed economy model of UK orchestras Foreword 1 2 The first part of this briefing looks at It has never been more important for If they don’t sustain the quality of their British orchestras are world-leaders. Attracting the best how the mixed economy model works orchestras to demonstrate that they output, then they won’t be invited in detail: really do deliver and add value for the on international tours, or be offered conductors and players, pioneering new music and new sums of money that are invested in them. lucrative recording deals. And it may be • How orchestras use the public Public finances are extremely tight, the more difficult for them to attract private investment they receive to lever approaches to the live experience, developing innovative amount of money available in the private donors. Many smaller orchestras have in significantly more resources from sector is limited, and consumers are exceptionally strong relationships with other sectors. For every one pound education programmes and reaching more people in more understandably choosy about where, their funders and supporters. It is very of taxpayers money invested in British when and how they spend on cultural important for the sector as a whole that orchestras, another £2 is generated areas than ever before, their impact continues to grow. and leisure activities. this philanthropic funding continues to from other sources. find its way through to the widest range The funding model that British orchestras Underpinning their success is a mixed economy model that • How orchestras work with private of orchestras and does not become have developed is flexible enough to givers – individuals, charitable trusts concentrated amongst the bigger players. -
'The Unmissable LMP'
LMP at St John’s Smith Square St John’s LMP at ‘The Unmissable LMP’ GRAMOPHONE Contents London Mozart Players Inspiring a Culture of Creativity & Performance The Orchestra pages 3-4 Principal Conductor & LMP Leaders pages 5-7 The LMP is one of the world’s finest chamber orchestras. We are dedicated to harnessing the passion and talent of our musicians, so Associates of the LMP pages 8-11 that our audiences can experience and delight in the joy of world- Venues, Touring & International Presence page 12 class live performance. LMP Voyager - Education & Community pages 13-16 We use music to bring together communities and give meaning to the world around us. We build inspiring partnerships that allow our Working with Businesses page 17 music to live on with integrity through all walks of life. We create LMP Members & Administration Team page 18-19 experiences that leave a lasting and significant impression on our audiences, inspiring future generations with our commitment to Contact page 20 excellence, quality and creativity. ‘ A more dedicated group of musicians does not exist’ JOHN SUCHET, CLASSIC FM PAGE 3 The Orchestra Principal Conductor & Music, Form & Specialities LMP Leaders Formed in 1949 by Harry Blech to play music from the Classical The Principal Conductor of the LMP is Gérard Korsten, himself an period, particularly Haydn and Mozart, the LMP now has a broader accomplished violinist who understands the special character of focus while retaining its original speciality. the chamber orchestra. He is joined by three outstanding violinists who share the role of Leader (often directing the LMP and playing concertos as well): Marieke Blankestijn, Simon Blendis and Ruth Rogers. -
CHAN 9358 Front Cvr.Qxd 20/3/08 3:15 Pm Page 1
CHAN 9358 Front Cvr.qxd 20/3/08 3:15 pm Page 1 DIGITAL CHANDOS DIGITAL CHAN 9358 CHANDOS po tem rar n ie o s C of ķ Mozart ĸ Carl Stamitz Four Symphonies London Mozart Players Matthias Bamert CHANDOS RECORDS LTD. p 1995 Chandos Records Ltd. Colchester . Essex . England c 1995 Chandos Records Ltd. CHAN 9358 BOOK.qxd 20/3/08 3:16 pm Page 2 Carl Stamitz (1745 -1801) Carl Philipp Stamitz was born in Mannheim in 1745 (the exact date is not known, but he was baptised on 8 May). His father was Johann Wenzel Anton (Jan Václav Antonín) Symphony in F major, Op. 24, No. 3 14:47 Stamitz (1717-1757), who was born in N˘emeck´y Brod in Bohemia, studied at the Jesuit 1 I Grave - Allegro assai 6:16 Gymnasium in Jihlava (a silver-mining town in Moravia, where Mahler went to school) and at 2 II Andante moderato — 4:05 the University in Prague, and entered the court orchestra of the Elector Palatine, Carl Philipp, 3 III Allegretto / Allegro assai 4:23 in Mannheim probably in 1741, as a violinist. In 1746, four years after Carl Philipp had been succeeded by his son Carl Theodor, Johann Stamitz was appointed Konzertmeister, and during Symphony in C major, Op. 13/16, No. 5 16:33 the next ten years brought the Mannheim orchestra to such a peak of perfection that Dr 4 I Grave - Allegro assai 5:49 Charles Burney was moved to describe it (in 1772) as ‘an army of generals’. 5 II Andante grazioso 6:07 Carl, Johann’s elder surviving son, studied with his father and, after his death, with other 6 III Allegro 4:31 members of the court orchestra, including Christian Cannabich, Ignaz Holzbauer and Franz Xaver Richter.