Thursday 10 May 7pm, Barbican Hall

Gold Medal 2018

Finalists Ljubica Stojanovic Dan-Iulian Drut¸ac Joon Yoon

Guildhall Symphony Orchestra James Judd conductor Guildhall School of Music & Drama Barbican Founded in 1880 by the Gold Medal 2018 City of London Corporation Please try to restrain from coughing until the normal breaks in the performance.

Chairman of the Board of Governors Thursday 10 May 2018 If you have a mobile phone or digital watch, Deputy John Bennett 7pm, Barbican Hall please ensure that it is turned off during the Principal performance. The Gold Medal, the Guildhall School’s premier Lynne Williams In accordance with requirements of the award for musicians, was founded and endowed Vice–Principal and Director of Music licensing authority, sitting or standing in in 1915 by Sir H. Dixon Kimber Bt MA Jonathan Vaughan any gangway is not permitted.

No cameras, tape recorders, other types of Please visit our website at gsmd.ac.uk Finalists recording apparatus may be brought into the auditorium. It is illegal to record any Ljubica Stojanovic performance unless prior arrangements Dan-Iulian Drut¸ac violin have been made with the Managing Director Joon Yoon piano and the concert promoter concerned.

No eating or drinking is allowed in the The Jury auditorium. Smoking is not permitted Donagh Collins anywhere on the Barbican premises. Kathryn Enticott Paul Hughes Barbican Centre James Judd Silk St, London EC2Y 8DS Jonathan Vaughan (Chair) Administration: 020 7638 4141 Box Office Telephone Bookings: Guildhall Symphony Orchestra 020 7638 8891 (9am-8pm daily: booking fee) James Judd conductor barbican.org.uk

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The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal winners since 1915 Gold Medal 2018

Singers 1979 Patricia Rozario 1947 Mary O White Ljubica Stojanovic piano 1915 Lilian Stiles-Allen 1981 Susan Bickley 1948 Jeremy White Prokofiev No. 3 in C major, Op. 26 1916 Rene Maxwell 1983 Carol Smith 1948 Susanne Rozsa 1917 Dora Labbette 1985 Peter Rose 1950 Leonard Friedman INTERVAL – 15 MINUTES 1918 Percy Kemp 1987 Juliet Booth 1952 Alfred Wheatcroft 1919 Arnold Stoker 1989 1954 Joyce Lewis 1921 Marjorie Claridge 1991 William Dazeley 1956 Joan Cohen Dan-Iulian Drut¸ac violin 1922 Marion Browne 1993 Nathan Berg 1958 Michael Davis Sibelius Violin Concerto in D minor, Op. 47 1923 Esther Coleman 1995 Jane Stevenson 1960 Jacqueline du Pré 1924 Linda Seymour 1997 Konrad Jarnot 1962 Robert Bell INTERVAL – 15 MINUTES 1925 John Turner 1999 Natasha Jouhl 1964 Sharon McKinley 1927 Marie Fisher 2001 Sarah Redgwick 1966 Anthony Pleeth 1927 Agostino Pellegrini 2003 Susanna Andersson 1968 David Loukes Joon Yoon piano 1928 Stanley Pope 2005 Anna Stéphany 1970 Jeremy Painter Brahms Piano Concerto No. 1 in D minor, Op. 15 1929 Elsie Learner 2007 Katherine Broderick 1972 Gillian Spragg 1930 Doreen Bristoll 2009 Gary Griffiths 1974 Charles Renwick 1932 Charles Mayhew 2011 Natalya Romaniw 1976 James Shenton 1933 Joyce Newton 2013 Magdalena Molendowska 1978 Iain King 1934 Martin Boddey 2015 Marta Fontanals-Simmons 1980 Julian Tear Please remain in the auditorium after the final 1934 Margaret Tann Williams & Jennifer Witton 1982 Simon Emes performance for adjudication and presentation of 1935 Norman Walker 2017 Josep-Ramon Olivé 1984 Kyoko Kimura 1936 Louise Hayward 1986 Tasmin Little the Gold Medal. 1936 Arthur Reckless 1988 Simon Smith 1937 Gwen Catley Instrumentalists 1990 Eryl Lloyd-Williams 1937 David Lloyd 1915 Margaret Harrison 1992 Katharine Gowers 1938 Gordon Holdom 1916 Antoinette Trydell 1994 Richard Jenkinson 1939 Rose Hill 1917 Margaret Fairless 1996 Stephen de Pledge 1940 John Nesden 1918 Frank Laffitte 1998 Alexander Somov 1941 Sylvia Roth 1919 Marie Dare 2000 Maxim Rysanov 1942 Owen Brannigan 1920 Horace Somerville 2002 David Cohen 1943 Vera Mogg 1922 William Primrose 2004 Boris Brovtsyn 1944 George Hummerston 1923 Walter Nunn 2006 Anna-Liisa Bezrodny 1945 Beryl Hatt 1924 Sidney Harrison 2008 Sasha Grynyuk 1946 Ethel Giles 1926 Sidney Bowman 2010 Martyna Jatkauskaite 1947 Pamela Woolmore 1928 Allen Ford 2012 Ashley Fripp 1949 Richard Standen 1929 Roger Briggs 2014 Michael Petrov 1951 William McAlpine 1930 Daphne Serre 2016 Oliver Wass 1953 Margaret Kilbey 1931 Katherine L J Mapple 1955 Daniel McCoshan 1931 Max Jaffa 1957 Iona Jones 1933 Joshua Glazier 1959 Josephine W Allen 1934 Ursula Kantrovich 1961 Edgar Thomas 1935 Vera Kantrovich 1963 Benjamin Luxon 1935 Phyllis Simons 1965 Verity-Ann Bates 1936 Lois Turner 1967 Wynford Evans 1937 Kenneth Moore 1969 Charles Corp 1939 Carmen Hill 1971 David Fieldsend 1940 Marie Bass 1973 Graham Trew 1941 Pauline Sedgrove 1975 Ian Kennedy 1942 Joan Goossens 1977 Clive Birch 1946 Brenda Farrow (1891 – 1953) Ljubica Stojanovic Piano Concerto No. 3 in C major, Op. 26 Piano

Andante – Allegro – Andante – Allegro Ljubica Stojanovic started playing the piano aged six and is Theme (Andantino) and Variations now an active musician who performs regularly as a soloist Allegro ma non troppo and chamber musician across Europe.

When Prokofiev left the newly established Soviet Union in She graduated from the Guildhall School in 2017 with a 1918, initially for the , he had already begun Guildhall Artist Masters, having studied with Caroline to note down themes for a successor to his first two piano Palmer, and is currently studying with Ronan O’Hora, concertos which, like them, could serve as a vehicle for his Caroline Palmer and David Takeno. Her studies have been own playing. Some of them came from a discarded attempt generously funded by the Leverhulme Trust. to write a strictly diatonic string quartet, which imparts a distinctive colouring to this Concerto in the white-note key Ljubica has won over 20 national and international of C major. After his first two American tours, Prokofiev competitions, including the Windsor International Piano returned to the work, completing it in the summer of 1921 Competition 2015, the Grand Prix of the International during a stay in Brittany. The solo part proved to be, in his Competition for young in Geneva, the National own words, ‘devilishly difficult’, and required intensive Competition of the Republic of Serbia in Belgrade, practice before the first performance – which took place in Competition of Young Yugoslavian pianists. She also won Chicago in December 1921, two weeks before the premiere second prize at the 5th Isidor Bajic´ Memorial in Novi Sad in in the same city of Prokofiev’s opera The Love for Three Serbia. Oranges. The Concerto was coolly received by American audiences suspicious of its ‘Bolshevist’ composer, but it won Ljubica has performed at venues across Europe such as the greater success in Europe, and is now by some distance the Royal Festival Hall, Barbican Hall, Wigmore Hall, St. James’s most popular of the composer’s five piano concertos. Piccadilly, St. Martin-in-the-Fields, Mozarteum University in Salzburg, Philharmonia Hall in Ljubljana, Thonex Hall The three movements of the Concerto all strike a balance in Geneva and Kolarac Hall in Serbia. She has worked with between slow and quick music. The first has a short Andante orchestras including the Witold Lutoslawski Philharmonia, introduction for the orchestra, and later a more extended the Serbian Radio-Television Orchestra and the National Andante interlude in which the piano joins; these alternate Symphony Orchestra in Belgrade. In 2015 Ljubica became with two substantial Allegro sections in which a sparkling an artist for the Concordia Foundation and for KNS Classical sequence of themes is presented and recapitulated – and record label in Spain. which both end by speeding up still further. The second movement is a set of individually characterised variations She has attended many masterclasses, receiving tuition from at tempi ranging from Allegro to Andante meditativo; these distinguished pianists such as Robert Levin, Dominique culminate in the return of the opening Andantino theme Merlet, Arie Vardi and Gotlieb Walisch. in double its original note-values, against an Allegro giusto background – an ingenious way of writing music which is Ljubica would like to thank Caroline Palmer, David Takeno simultaneously slow and fast. The finale begins in a lively and Ronan O’Hora for their guidance, help and support. tempo, but a contrasting slower theme, initially played by clarinets and oboes, is built up into a middle section which reaches an expansive climax, before the quick music returns to end the work. Jean Sibelius (1865 – 1957) Dan-Iulian Drut¸ac Violin Concerto in D minor, Op. 47 Violin

Allegro moderato Dan-Iulian studied with Galina Buinovschi at the Ciprian Adagio di molto Porumbescu Music School in Chisinau, Moldova, before Allegro, ma non tanto winning the Grand Prize in the Whitgift International Music Competition in 2013 and gaining a music scholarship The violin was Sibelius’s own instrument: he began playing to Whitgift School for sixth form. He took up a place it in his childhood, took it seriously from the age of 14, and at Junior Guildhall in 2014 and won the prestigious continued his studies on it at the Helsinki Conservatoire. Lutine Prize in 2015. He is now in the third year of the It was only in his twenties that he abandoned thoughts of undergraduate BMus programme at the Guildhall School, a career as a soloist, partly because he realised that he had studying with David Takeno. begun intensive study too late, partly because of his growing confidence as a composer. His love of the instrument His other awards include the Grand Prize in the Philip and his intimate knowledge of its technical possibilities Todirascu National Competition and First Prize and Special are evident in his Violin Concerto, his only large-scale Prize for virtuosity at the Nedyalka Simeonova International composition in concerto form. It is a relatively early work, Competition in Bulgaria. written in 1903, the year after the first performance of the Second Symphony, and thoroughly revised, with (as a Dan-Iulian frequently performs as a soloist with professional recording of the original version has revealed) many cuts orchestras in the UK, Moldova and across Europe, as well as and considerable reduction of its technical difficulties – giving solo performances at embassies and cultural events. though these remain challenging – two years later. He was generously loaned a 1696 Stradivarius violin by Andrew Bernardi, on which he performed Glazunov’s Violin The first, and most substantial, of the three movements is Concerto with the Whitgift Chamber Orchestra and Royal one of Sibelius’s characteristic combinations of apparently Philharmonic Orchestra at the Royal Festival Hall. rhapsodic form and organic evolution of material. The main themes are all introduced at some length: the soloist’s ‘sweet Since beginning his undergraduate studies, he has continued and expressive’ opening melody; a broad idea in 6/4 time; to build on his extensive experience as a concert soloist, and a strongly accented orchestral dance. Instead of the usual performing the Tchaikovsky Violin Concerto at Milton central development section, there is an extended cadenza, Court with the Junior Guildhall Symphony Orchestra and initially accompanied by the orchestra. This is followed by at the Thaxted Festival in July 2016. Also in that summer, a combined recapitulation and development, beginning he performed the Bruch Violin Concerto at the magnificent with the opening melody on bassoon, and leading to a Romanian Athenaeum in Bucharest and in Toblach, . dramatic coda. The slow movement is introduced by wistful woodwind phrases, which after the soloist’s dreaming Dan-Iulian is kindly supported by the Louise Thompson melody return in the strings to launch an extended episode Licht Award for his studies at the Guildhall School. of vehement forward motion. The melody returns in the orchestra, beneath an ornate violin descant, but at the end is reclaimed by the soloist, with the utmost simplicity. The finale has as its main theme a stamping triple-time folk dance, with a rhythmic timpani accompaniment; this alternates with other ideas in infectious cross-rhythms, in a movement of sustained energy. (1833 – 1897) Joon Yoon Piano Concerto No. 1 in D minor, Op. 15 Piano

Maestoso Joon Yoon made his solo recital debut in Korea at the age of Adagio 12 and his concerto debut in the U.S. a year later. He is an Rondo: Allegro non troppo avid solo and chamber musician and performs a wide range of repertoire from Bach to Brahms to Carter. Joon gained his The First Piano Concerto, Brahms’s first major work Bachelor and Masters of Music at the Juilliard School and including orchestra, had a prolonged and painful gestation, the Yale School of Music with full tuition scholarships. His amidst the turmoil of the troubled last years of his mentor teachers there included Yong Hi Moon, Robert McDonald, . Its first movement began life in 1854 Melvin Chen and Hung-Kuan Chen, and are his greatest as the first movement of a sonata for two , and musical influences. He is currently studying with Ronan was re-cast the following year as the first movement of a O’Hora on the Artist Diploma course at the Guildhall symphony. But in 1856 Brahms decided to rework it for School, where he is supported by the Eduard and Marianna piano and orchestra, and to add two entirely new movements Loeser Award. to make up a large-scale concerto. The work was completed by March 1858, with the help of advice from Brahms’s most He has won prizes at the Piano Texas Concerto Competition, trusted colleague, the violinist Joseph Joachim. But Brahms the Liszt-Garrison Piano Competition and the Fite Family continued to make many revisions both before and after the Young Artist Piano Competition and awards at the Peabody first performance, which took place – with the composer as Preparatory in Baltimore and the Campillos International soloist – in Hanover in January 1859. Piano Competition in Spain. He was the 2017 winner of the Glass Sellers’ Beethoven Piano Prize at the Guildhall School. The first movement, marked Maestoso (‘majestic’), begins with a harmonically restless idea which at once proclaims Joon has performed in prestigious venues across Japan, the work’s breadth and power, and hints at its expansive Korea, Spain and the U.S., including Alice Tully Hall, scale. This launches a traditional opening orchestral tutti , Petit Palau of Palau de la Música, Seoul Arts containing several contrasting themes; but only some Center, and Sejong Center for the Performing Arts. He has time after the soloist’s entry is the principal second subject made concerto appearances with the Peabody Sinfonietta, introduced as a sonorous piano solo. The development Fort Worth Symphony Orchestra, and Connecticut Virtuosi section starts where the piano suddenly interrupts tranquil Chamber Orchestra. He has been a fellow of the Music orchestral musings with hammered double-octaves. The Academy of the West and the Bowdoin International recapitulation begins with a more dissonant re-casting of Music Festival’s Kaplan Fellowship program. As a chamber the opening, keeping the movement’s thread of tension musician, he has worked with Peter Wiley of the Guarneri taut. The central movement is a major-key Adagio, with Quartet, Joel Smirnoff of the Juilliard Quartet and with reduced orchestra, in an A–B–A form with some Chopin- Richard Goode, Yoheved Kaplinsky, Jerome Lowenthal, like decorative piano writing in its middle section. It may be John O’Conor, Matti Raekallio and Arie Vardi in an expression of Brahms’s growing feelings for Schumann’s masterclasses and festivals. widow Clara: while working on it, he wrote to Clara that he was ‘painting a lovely portrait’ of her. The finale is a Rondo Aside from music, Joon is an avid cook and a film lover, of animated seriousness, with a Beethovenian formal plan especially those of Wes Anderson, Stanley Kubrick and in which the statements of the springing main theme are Quentin Tarantino. separated by three contrasting episodes, the first and third related, and a cadenza leads the way to an expansive major-key coda. Programme notes by Anthony Burton © 2018 James Judd Guildhall Symphony Orchestra Conductor

Music Director of the Daejeon Philharmonic Orchestra Violin 1 Viola Oboe Orchestra Manager of Korea and the Slovak Philharmonic Orchestra, British Amarins Wierdsma Oscar Holch Rees Webster Jim Dean Lyrit Milgram Anna Growns Bernice Lee conductor James Judd is sought after for both his passionate Orchestra Librarian Ionel Manciu Jeremy Tonelli-Sippel musicianship and his charismatic presence on and off the Clarinet Kate Price Brenna Carey William Harpum Charlotte Bartley podium. Known for his extraordinarily communicative style Joshua Dalton Lorena Cantó Woltèche Orchestra Stage Manager Heather Ryall and bold, imaginative programming, repeat engagements Andrea Timpanaro Abigail Brewster William Bannerman from to Tokyo, from Istanbul to Adelaide, attest to his Timothy Chua Freya Hicks Bassoon Long Wu Chan Kate Correia De Campos Rebecca Allen rapport with audiences and musicians alike. Bacem Romdhani Matthew Kendell Anna Clarke Seating correct at time Sabine Sergejeva James Flannery of going to print. Horn Sofia Presta Carlos David Contreras During his eight years as Music Director of the New Zealand (Prokofiev & Sibelius) Millie Ashton Cello Alex Willett Symphony Orchestra, James brought the ensemble to a new Lydia Ballam Thomas Vidal Billy Marshall level of visibility and international renown with recordings Tilman Fleig Joshua Lynch Luke Maher Victoria Farrell-Reed for the Naxos label, tours of Europe and Australia and the Leo Popplewell Oliver Johnson Yuriko Matsuda orchestra’s debut at the BBC Proms. His music directorships Joanna Twaddle Samuel McNally Violin 2 Louis Baily have included Principal Guest Conductor of the Orchestre Horn (Brahms) Patrycja Mynarska Pietari Willey Samuel McNally National de Lille in France and 14 years as Music Director of Riley Court-Wood Laurens Price-Nowak Billy Marshall the Florida Philharmonic Orchestra. Deeply committed to Enyuan Khong Maria Marshall Luke Maher Karolina Sutt Shu Odawara music education, James has led the orchestras of the Juilliard Oliver Johnson Leegene Kwon Felix Stephens School, Curtis Institute of Music, Manhattan School of Music, Alex Willett Joana Praça Double bass Guildhall School, Trinity Laban, Aspen Music Festival and the Melissa Hutter Trumpet Mario Torres National Youth Orchestras of Australia and New Zealand. He Leona Gogolicynova Jacob Rosenberg Piotr Hetman Demver Blancio Jack Jones is Principal Guest Conductor of the Asian Youth Orchestra, Miguel Pedraza Paula Gorbanova , Thomas Morgan Trombone founder of the Miami Music Project in Florida, and music Julia Hernández Dan Molloy Elinor Chambers director of New York’s Little Orchestra Society. Adrián Morena Tierraseca João Freitas Dos Santos James Goodwin Matthew Sach-Keen Miguel Pliego García David Cox Nina Lim Recent highlights have included performances of Carmina Jessica Martin Bass trombone Burana at the spectacular desert ruins of Masada and a Flute Alistair Goodwin Victoria Creighton month-long tour with the New Zealand Symphony and Timpani Emma Hochschild Renée Fleming, as well as concerts with the Philadelphia Yu-Xiu Tsai Chamber Orchestra, the Santa Barbara Symphony, the Percussion Noord Nederlands Orchestra, the Argovia Philharmonic, Tristan Butler three concerts in Berlin as part of the celebrations in the Konzerthaus of ’s centenary, a tour to Dubai with the Concert Verein in the inaugural month of the magnificent new Dubai Opera. The current season features a tour with the Asian Youth Orchestra, the opening of the Bratislava Festival, concerts with the Daejeon Philharmonic, recordings with the Royal Philharmonic Orchestra, a tour of China with the Slovenian National Orchestra, and concerts with the Kyoto Symphony and New Japan Philharmonic. The Jury

Donagh Collins Kathryn Enticott

Born in Dublin in 1974, Donagh moved to London in 1999 Rhinegold/Association of British Orchestras Artist to work at Askonas Holt, starting as an Administrator in the Manager of the Year 2017, Kathryn Enticott founded Tours & Projects Department and subsequently managing her own boutique agency, Enticott Music Management, that department. Donagh joined Askonas Holt’s Board of in 2014, after many years running the Conductors and Directors in 2007, and took over as Chief Executive in 2014. Instrumentalists Department at IMG Artists. She manages an elite roster of conductors and instrumentalists, and Donagh studied piano and cello at the Royal Irish Academy consults to various artistic institutions and organisations of Music, and subsequently studied Mechanical Engineering including the Rosendal Festival in at University College Dublin. A passionate advocate of youth and the Nielsen International Violin Competition. orchestras, Donagh was in turn a member, manager and director of the National Youth Orchestra of Ireland, and is Kathryn studied Music and English at the University of currently a Trustee of the NYOGB. He is married, with two Birmingham and, after graduating, joined Intermusica lovely daughters. Artist Management. She then spent four years in the Music Department at Andrew Lloyd Webber’s Really Useful Group before joining IMG Artists as an Artist Manager with subsequent promotions which saw her assume the role of Managing Director, Artist Management in 2012.

Her current roster of artists at EMM is an illustrious one which includes Leif Ove Andsnes, Semyon Bychkov, Franz Welser-Möst, Alan Gilbert, Nikolaj Znaider, Miloš Karadaglic´, and her most recent signing, Sheku Kanneh-Mason.

Paul Hughes Jonathan Vaughan (Chair)

Paul Hughes’s first professional position was as librarian After studying double bass and piano at the Royal College of the European Community Youth Orchestra in 1983. He of Music, Jonathan worked with most of Britain’s major became General Manager of The Academy of Ancient Music orchestras and opera companies. He was an active chamber in 1985, before joining IMG Artists as artist manager and musician and worked as a teacher, coach and music educator artistic producer of arena concerts. In 1993, he became in a variety of settings. CEO of the the Royal Scottish National Orchestra, and he was then appointed General Manager of the Monteverdi Jonathan spent ten very happy years as a member of the Choir and Orchestra, before taking up his present position London Symphony Orchestra and was ultimately privileged of General Manager of the BBC Symphony Orchestra and to serve as its Chairman. Chorus in 1999. He was Director of the National Youth Orchestra for five With overall responsibility for the artistic planning, Paul years, before taking up his current post, Director of Music at has broadened the orchestra’s artistic range and diversity, the Guildhall School in 2007. He is a Fellow of the Higher appointing conductors Sakari Oramo and Semyon Bychkov, Education Academy and was awarded Fellowship of the and composer Brett Dean to head the orchestra’s creative Guildhall School in 2015. team, and oversaw the creation of the orchestra’s Learning department. Under his guidance, the BBCSO has made Jonathan lives in Wiltshire with his wife, three children and an award-winning series of recordings, most notably for one sadly neglected double bass. Chandos. In 2012, Paul also became General Manager of the BBC Singers. He appointed Master of the Queen’s Music Judith Weir to be the BBC Singers’ Associate Composer, and has raised the profile of the Singers in the UK and overseas through an innovative series of residencies that combine performance, learning work in the community, and masterclasses with young composers, conductors and singers.

He is a frequent member of international competition juries, was for nine years a Governor of the Guildhall School, and a member of the HEFCE Research Excellence Framework panel. He is an Honorary Member of the Royal College of Music, an Honorary Fellow of Trinity College of Music and an Honorary Fellow of the Guildhall School. Guildhall School Thank you Scholarships Fund

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Forthcoming events

Wednesday 27 June, 7.30pm Tuesday 3 July, 7pm Saturday 7 July, 8pm Wigmore Hall Milton Court Concert Hall Summer Chamber Milton Court Concert Hall Music Festival Guildhall Wigmore Capturing the Hidden Gems of The Guildhall School’s new Chamber Recital Prize Illusive Image: Music Festival features showcase Chamber Music performances from some of the School’s Ming Xie piano Debussy’s Préludes A concert featuring masterpieces that most accomplished chamber groups and are less frequently performed than Paul Roberts (Professor of Piano) collaborations with renowned performers Granados El Amor y la muerte and they deserve: Prokofiev’s extraordinary from the chamber music faculty. Alongside El fandango de candil from Goyescas quintet, Fauré’s second Piano Quartet evening concerts in Milton Court Concert Ravel Gaspard de la nuit An inspiring insight into Debussy’s music and Taneyev’s masterful Piano Trio, all Hall, the festival features an array of free Chopin 24 Preludes, Op. 28 with and Debussy expert Paul performed by current students and concerts, seminars and masterclasses Roberts. As part of the centenary tributes faculty members. throughout the three day event. The Guildhall Wigmore Recital Prize to Debussy (1862-1918), Roberts will annually awards an exceptional Guildhall demonstrate the nature of Impressionism Tickets: £15 (£5 concessions) available School musician with a Wigmore Hall in music. He will discuss and perform from the Barbican Box Office: Friday 6 July, 7.30pm recital. Described by the first book of Préludes and show how 020 7638 8891 barbican.org.uk Milton Court Concert Hall as ‘phenomenal’, young Chinese pianist Debussy’s visually evocative titles provoke Ming Xie is fast establishing himself as a an intensity of listening. rising star in classical music. He presents Opening Concert Sunday 8 July, 7.30pm a thrilling programme of piano music Tickets: £15 (£10 concessions) Milton Court Concert Hall

taking in Granados’ masterful piano suite, available from the Barbican Box Office: The world-renowned Endellion charming Chopin preludes and Ravel’s 020 7638 8891 barbican.org.uk Quartet, Guildhall’s Visiting Quartet- Classic Chamber virtuosic Gaspard de la nuit, considered in-Association, are joined by professors one of the most technically-challenging Graham Sheen, Alec Frank-Gemmill and Works solo piano pieces of all time. Adrian Brendel in the opening concert of the festival. They perform alongside An extraordinary line-up of Guildhall Tickets: £15 (£13 concessions), available current students in works by Beethoven, faculty members – Levon Chilingirian, from Wigmore Hall Box Office: Brahms, Debussy and composition Louise Hopkins, Nicholas Daniel, Carole 020 7935 2141 wigmore-hall.org.uk professor Matthew Kaner. Presland, Graham Sheen, Ursula Smith, Joy Farrall and Matthew Jones – are Tickets: £15 (£5 concessions) available joined by students to perform three classic from the Barbican Box Office: chamber works, bringing the festival to a 020 7638 8891 barbican.org.uk memorable close.

Tickets: £15 (£5 concessions) available from the Barbican Box Office: 020 7638 8891 barbican.org.uk Gold Medal 2019

Next year’s Gold Medal for vocalists will be held on Friday 10 May 2019 in the Barbican Hall.

Tickets will be available from the Barbican Box Office from February 2019.