KSO Programme, July 2018, SJSS, Sibelius.Indd

DELIUS BRIDGE SIBELIUS

ND 62 SEASON TUESDAY 3 JULY 2018 2017/18 ST JOHN’S SMITH SQUARE DELIUS A Song of Summer BRIDGE The Sea

Interval 20 minutes SIBELIUS Symphony No.6

RUSSELL KEABLE Conductor ALAN TUCKWOOD Leader

TUESDAY 3 JULY 2018 7.30PM ST JOHN’S SMITH SQUARE LONDON

COVER IMAGE: Edge Movement (1967) by Harry Ousey (1915-85). The Manchester-born artist was inspired by nature throughout his career, painting landscapes from St Ives to Marseilles. Reproduced by kind permission of the estate of Harry Ousey. For more information, visit harryousey.co.uk and Elephantstones Gallery at elephantstones.co.uk

In accordance with the requirements of Westminster City Council, persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in the venue. Refreshments are permitted only in the restaurant in the crypt, which is open for licensed refreshments during the interval and after the concert. Please ensure that all digital watch alarms, pagers and mobile phones are switched off.

PHONE 020 7222 1061 ONLINE sjss.org.uk ST JOHN’S SMITH SQUARE

St John’s Smith Square Charitable Trust: registered charity no. 1045390; registered in England; company no. 3028678. KSO: registered charity no. 1069620 TONIGHT’S PROGRAMME FREDERICK DELIUS 1862-1934

DELIUS return of the opening mood is marked by A Song of Summer (1929-30) very soft chords in the harp, followed by a slow build-up to a magnificent fortissimo climax before the music magically dies away. ALTHOUGH DELIUS WAS BORN in Bradford, he lived most of his life outside Delius would wiggle England, spending his last 30 years in Grez-sur-Loing, a village south of Paris, near ‘about in his armchair, Fontainebleau. After the First World War, he gesticulating wildly became blind and partially paralysed through syphilis; eventually unable to hold a pen, the Eric Fenby, the composer’s amanuensis’ composer could no longer set down on paper the music that still filled his imagination. The mellowness of the work and its masterly sense of form show that Delius’s musical The story of how Eric Fenby, a young powers were not in decline, but it is difficult Yorkshireman, offered his services after to imagine how painstakingly it had been hearing of the composer’s plight is memorably taken down. Fenby described how Delius depicted in Ken Russell’s haunting film A Song “dictated with great rapidity… the mood of Summer, made in 1968 and named after was one of frenzy. He could not keep still, the first piece the pair worked on after Fenby but would wiggle about in his armchair, joined the Delius household in October 1928. gesticulating wildly… until, bathed in A Song of Summer was based on A Poem perspiration, he could go on no longer. Then of Life and Love, a work for large orchestra he would be carried away exhausted.” that Delius had begun in 1918 but had been The piece was first performed at the Proms in forced to abandon. He asked Fenby to select 1931, conducted by Henry Wood, with Delius anything worth salvaging and to develop it into listening to the radio broadcast at home.  a new piece with a different title. In August 1929, Delius announced that an entirely new opening had come to him in the night. “I want you to imagine we are sitting on the Delius wrote A Song of Summer in France cliffs, in the heather, looking out over the sea,” he said. “The sustained chords in the high strings suggest the clear sky, and the stillness of the scene… you remember that figure that comes in the violins when the music becomes more animated. I’m introducing it here to suggest the gentle rise and fall of the waves… that flute figure suggests a seagull gliding by.” After this evocative opening, a harp enters and the tempo quickens, the subtle inflections of pulse depicting the uncertainty of the sea’s movement, mixed with breezes. The ARCHIVE/GETTY IMAGES PHOTO: © HULTON

4 KENSINGTON SYMPHONY ORCHESTRA FRANK BRIDGE 1879-1941

BRIDGE the rocky coastline. This led him to build a The Sea (1910-11) house around a mile from Beachy Head, where he lived until his death. He liked to take friends walking over the cliffs with their superb view AS A YOUNG MAN, Frank Bridge of the Channel, and whenever it was fine, he established a reputation not only as a would go prawning before breakfast. composer of chamber music and songs, but also as an outstanding conductor and string player. In 1910, the increased colour-range of the modern orchestra encouraged him to write a descriptive work, and The Sea is the crowning achievement of his early period. Completed in July 1911, in Eastbourne (where Debussy had finished La Mer in 1905), the work was first performed at the Proms in September 1912, conducted by Henry Wood. This was Bridge’s first major orchestral work, but the scoring is already personal, confident

and clear. These are not “impressions” in the LONDON PORTRAIT GALLERY, PHOTO: © THE NATIONAL conventional sense; Bridge sometimes uses Frank and Ethel Bridge in January 1937, Impressionist harmony, but he was never an with Benjamin Britten (centre) in Paris Impressionist, always combining evocative nature poetry with the precise musical argument of his chamber music. In the 1920s, For the first performance, the composer the Romanticism of these early compositions provided the following comments: was to give way to something darker, abstract • Seascape. Seascape paints the sea on a and more daringly experimental. summer morning. From high drifts is seen a Bridge conducted The Sea at the Norwich great expanse of waters lying in the sunlight. Triennial Festival in 1924, when the ten-year- Warm breezes play over the surface. old Benjamin Britten was “knocked sideways” • Sea-Foam. Sea-foam froths among by the piece. A few years later, Bridge taught low-lying rocks and pools on the shore; Britten privately, treating him almost like the playfully, not stormy. son he never had. His impact was enormous, Britten saying that his mentor’s “loathing of all • Moonlight. A calm sea at night. The sloppiness and amateurism set me standards first moonbeams are struggling to pierce dark I’ve never forgotten”. In 1931, Britten made clouds, which eventually pass over, leaving an arrangement of The Sea for two pianos, the sea shimmering in full moonlight. and the work surely influenced the Four Sea • Storm. Wind, rain and tempestuous seas. Interludes in his 1945 opera Peter Grimes. With the lulling of the storm, an allusion to the The Sea reflects both the British fascination first number is heard, which may be regarded with this elemental force and Bridge’s love of as the sea-lover’s dedication to the sea. 

JULY 2018 5 TONIGHT’S PROGRAMME

SIBELIUS Seventh. It is a restrained work, more subtle Symphony No.6 (1918-23) than Sibelius’s other symphonies, and the one that prompted his remark that “while other composers [he probably meant Strauss and Ravel] were mixing cocktails of various SIBELIUS HAS BEEN CALLED “the greatest hues”, he was offering “pure spring water”. master of the symphony since Beethoven” and But although the Fifth and Sixth are very “the aristocrat of symphonists”. Yet he was different in character, it now seems clear always reluctant to discuss his own work. “You that their genesis was interconnected, and know how the wing of a butterfly crumbles it has long been evident that the Sixth and at a touch? So it is with my compositions; the the Seventh were conceived in parallel. very mention of them is fatal,” he said. One of his few revealing remarks was made to Gustav Mahler, when he declared his aim to A butterfly crumbles at be “strictness of style and the deep logic that a touch… so it is with my unites all of the themes by an inner bond”. ‘ compositions; the very Given the austerity of so much of his music, it is perhaps surprising that Sibelius was mention of them is fatal a true epicurean. He dressed fastidiously, Jean Sibelius smoked the best Havana cigars and delighted ’ in good food and wine. His last known work Completed in 1923, the Sixth was dedicated to was completed in 1929. After that, there was the Swedish composer Wilhelm Stenhammar, silence until his death, nearly 30 years later. and it was in Sweden, in Gothenburg, that With their total concentration on a single Sibelius conducted the first performance vision, Sibelius’s late symphonies show a in February of that year. Shortly before the complete disregard for playing to the gallery. concert, however, the composer could not This is particularly true of the Sixth, which be found, alarming his hosts. A search of has never been as popular as the Fifth or the local hostelries found him eating oysters and

Mirror (2010) and Icy (2012) by the Finnish photographer Susanna Majuri (b.1978) PHOTO (DETAIL): © SUSANNA MAJURI/DON’T TAKE PICTURES © SUSANNA MAJURI/DON’T TAKE PHOTO (DETAIL):

6 KENSINGTON SYMPHONY ORCHESTRA JEAN SIBELIUS 1865-1957

drinking champagne, unsure whether the performance was a rehearsal or a concert. After the première, he was withdrawn and confused; fumbling in his pocket, he smashed a bottle of cognac he had been carrying. Sibelius’s late symphonies elude conventional analysis because the music is so integrated that it does not fall into clear episodes. The Sixth grows from four descending notes (known as a “kernel-motif”) and is in the Dorian mode;

that is, D minor with the seventh note flattened, BOARD OF ANTIQUITIES, FINLAND PHOTO: © NATIONAL the scale most commonly used in Finnish folk Sibelius with his wife, Aino, in October 1955 song. As the conductor Simon Parmet explains: “The Finn interprets the modal element in the Sixth in the same way he does when it The slow movement has wonderfully occurs in the folk song… he experiences the economic scoring, while in the scherzo, Sixth as something extremely Finnish.” the pulse never slackens. Menacing brass The piece has one of the most beautiful chords are used with great power, and the openings of all of Sibelius’s symphonies. mood is heavy and melancholy, despite Shimmering high strings suggest a restful forest the lively tempo. The critic Robert Layton landscape, and for 30 bars, there is nothing describes the finale as “one of Sibelius’s but quietly moving diatonic counterpoint most perfect”, and it can be heard as a set in four or five parts, perhaps a result of the of variations, all growing out of each other, composer’s admiration for Palestrina, Lassus on the movement’s initial theme.  and the 16th-century English masters. The structure, an introduction and allegro, is a FABIAN WATKINSON variation of the first movement of the Fifth. Programme notes: © the author, 2018

Sibelius described his Sixth as “pure spring water”; Majuri often uses water in her work PHOTO (DETAIL): © SUSANNA MAJURI/DON’T TAKE PICTURES © SUSANNA MAJURI/DON’T TAKE PHOTO (DETAIL):

JULY 2018 7 ARTISTS’ BIOGRAPHIES RUSSELL KEABLE Conductor

RUSSELL KEABLE is one of the UK’s most and Paris (filmed by British and French exciting musicians, praised as a conductor television) and made his debut with the Royal in both the national and international press. Oman Symphony Orchestra in Dubai. He has “Keable and his orchestra did magnificently,” recorded two symphonies by Robert Simpson, wrote the Guardian; “one of the most and a Beethoven CD was released in New York. memorable evenings at the South Bank for Keable holds the post of director of conducting many a month,” said the Musical Times. at the University of Surrey. He trained at the He has been associated with KSO for more University of Nottingham and King’s College, than 30 years, establishing the group’s London University. He studied conducting at reputation as one of the finest non-professional London’s Royal College of Music with Norman orchestras in the UK. Under his baton, Del Mar, and later with George Hurst. KSO has become known for its consistently Over five years, Keable developed a special ambitious programming of contemporary relationship with the Schidlof Quartet, with music, and he has led premières of works by whom he established an innovative education British composers including Robin Holloway, programme. He is a dynamic lecturer and David Matthews, Peter Maxwell Davies, John workshop leader, working with audiences McCabe, Joby Talbot and John Woolrich. ranging from schoolchildren to music students Keable has received particular praise as a and international business conferences. champion of the music of Erich Korngold: Keable is also in demand as a composer and the British première of the composer’s Die tote arranger; he has written works for many British Stadt was hailed as a triumph, and research in ensembles, and his opera Burning Waters, Los Angeles led to a world première of music commissioned by the Buxton Festival, was from Korngold’s film score for The Sea Hawk. premièred in July 2000. He has also composed Keable performs with orchestras and choirs music for the mime artist Didier Danthois to throughout the UK, has conducted in Prague use in prisons and special-needs schools. 

Russell Keable has been praised as a conductor in both the national and international press PHOTO: © SIM CANETTY-CLARKE

8 KENSINGTON SYMPHONY ORCHESTRA KENSINGTON SYMPHONY ORCHESTRA

FOUNDED IN 1956, Kensington Symphony Die tote Stadt, the latter praised by the Orchestra enjoys an enviable reputation as Evening Standard as “a feast of brilliant one of the finest non-professional orchestras playing”. In 2004, KSO and the London in the UK. Its founding aim – “to provide Oriana Choir performed a revival of Walford students and amateurs with an opportunity Davies’s oratorio Everyman, a recording to perform concerts at the highest possible of which is available on the Dutton label. level” – remains at the heart of its mission. KSO has had only two principal conductors: KSO is a remarkable its founder, Leslie Head, and the incumbent, band… there were Russell Keable, who recently celebrated three ‘ decades with the orchestra. The knowledge, many moments to relish passion and dedication of these musicians Classical Source has shaped KSO, giving it a distinctive ’ repertoire that sets it apart from other groups. Contemporary music continues to be the Revivals and premières of new works lifeblood of KSO. Recent programmes have often feature in the orchestra’s repertoire, featured works by an impressive roster of alongside major works of the 19th, 20th and composers working today, including Thomas 21st centuries. World and British premières Adès, Julian Anderson, Charlotte Bray, Brett have included music by Bax, Brian, Bruckner, Dean, Jonny Greenwood, Oliver Knussen, Nielsen, Schoenberg, Sibelius and Verdi. Magnus Lindberg, Benedict Mason, Rodion Shchedrin, Joby Talbot and John Woolrich. Russell Keable has aired a number of unusual works, as well as delivering some significant In 2005, Errollyn Wallen’s Spirit Symphony, musical landmarks: the London première performed with the BBC Concert Orchestra of Dvorak’s opera Dimitrij and the British and broadcast on BBC Radio 3, won the première of Korngold’s operatic masterpiece CONTINUED ON P10

The orchestra at Cadogan Hall, London, in January 2017 PHOTO: © SIM CANETTY-CLARKE

JULY 2018 9 ARTISTS’ BIOGRAPHIES THE ORCHESTRA

CONTINUED FROM P9 The reputation of the orchestra is reflected in Radio 3 Listeners’ Award at the British the quality of international artists who appear Composer Awards. In 2014, KSO gave the with KSO. Recent soloists include Nikolai world première of Stephen Montague’s Demidenko, Sir John Tomlinson, Yvonne From the Ether, commissioned by St John’s Howard, Katherine Watson, Matthew Trusler, Smith Square to mark its 300th anniversary. Fenella Humphreys and Richard Watkins. During the 2014/15 season, the orchestra was part of Making Music’s Adopt a Composer scheme, collaborating with A feast of Seán Doherty on his work Hive Mind. ‘ brilliant playing From the very beginning, KSO has held The Evening Standard ’ charitable aims. Its first concert was given in aid of the Hungarian Relief Fund, and it has The orchestra enjoys working with up- since supported many different charities. In and-coming artists such as Martin James recent years, it has developed links with the Bartlett, the 2014 BBC Young Musician of Kampala Symphony Orchestra and Music the Year, and Young Classical Artists Trust School under its KSO2 programme, providing musicians Ji Liu and Richard Uttley. KSO training, fundraising and instruments in works with a guest conductor each year; partnership with the charity Musequality. recently, these have included Jacques Cohen, Nicholas Collon, Alice Farnham, Andrew In April, KSO returned to Westfield London Gourlay, Holly Mathieson and Michael Seal. for the orchestra’s 16th “sponsored play” event, raising more than £20,000 for War Child KSO’s regular performance venue is St John’s and the Kensington & Chelsea Foundation’s Smith Square. It also performs regularly at the Grenfell Tower Fund. The orchestra also Queen Elizabeth Hall and at Cadogan Hall, supports the music programme at Pimlico and celebrated its 60th anniversary with a gala Academy, its primary rehearsal home. concert at the Barbican Centre in May 2017. 

KSO has developed a distinctive repertoire that sets it apart from other groups PHOTO: © SIM CANETTY-CLARKE

10 KENSINGTON SYMPHONY ORCHESTRA SUPPORT US FRIENDS’ SCHEME

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PHOTO: © SIM CANETTY-CLARKE Alan Williams

JULY 2018 11 SUPPORT US SPONSOR OR DONATE

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12 KENSINGTON SYMPHONY ORCHESTRA FIND OUT MORE KSO ONLINE

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JULY 2018 13 TONIGHT’S PERFORMERS THE ORCHESTRA

FIRST VIOLIN CELLO BASSOON MUSIC DIRECTOR Alan Tuckwood Joseph Spooner Nick Rampley Russell Keable Sabina Nielsen Alex Breedon Sheila Wallace Adrian Gordon Vanessa Hadley John Wingfi eld-Hill TRUSTEES Ria Hopkinson Zoe Marshall Chris Astles Claire Maugham Linda Hindmarsh CONTRABASSOON David Baxendale Helen Hockings Emma Chamberlain Kriskin Allum Elizabeth Bell John Dovey Bronwen Fisher David Baxendale FRENCH HORN Judith Ní Bhreasláin Robert Chatley Annie Marr-Johnson Jon Boswell Sabina Nielsen Heather Bingham Heather Pawson Heather Pawson Susan Knight DOUBLE BASS Ed Corn Nick Rampley Helen Stanley Steph Fleming Jeremy Garside Richard Sheahan Andrew Neal SECOND VIOLIN Peter Taunton TRUMPET ENDOWMENT TRUST Matthew Hickman Alison Coaker Stephen Willcox Robert Drennan Jill Ives John Hackett Graham Elliott Sarah Hackett FLUTE Leanne Th ompson Judith Ní Bhreasláin Jenny Davie Christopher Wyatt Nick Rampley Erica Jeal Claire Knighton TROMBONE Neil Ritson Francoise Robinson Emma Brown Phil Cambridge EVENTS Helen Turnell Ken McGregor Elizabeth Bell PICCOLO Catherine Abrams Chris Astles Camilla Nelson Emma Brown BASS TROMBONE Stefan Terry Judith Ní Bhreasláin Emily Adlam Sabina Nielsen Rufus Rottenberg OBOE TUBA Beccy Spencer Sultan Kara Charles Brenan Leanne Th ompson Juliette Murray-Topham Neil Wharmby VIOLA Chris Astles TIMPANI MEMBERSHIP Beccy Spencer Tommy Pearson Juliette Barker Guy Raybould COR ANGLAIS David Baxendale Hattie Rayfi eld Chris Astles PERCUSSION Andrew Neal Alison Nethsingha Tim Alden MARKETING Sally Randall CLARINET Catherine Hockings Daniela Dores Chris Horril Simon Willcox Jeremy Bradshaw Jeremy Lambert Ivan Rockey Andrew Barnard Ria Hopkinson Jane Spencer-Davis Jo Johnson Andrew Neal Andrew McPherson BASS CLARINET HARP Guy Raybould Olivia Foster Vander Elst Graham Elliot Bethan Semmens PROGRAMMES Ria Hopkinson

WOODWIND COACH Chris O’Neal

14 KENSINGTON SYMPHONY ORCHESTRA 63RD SEASON 2018/19

MONDAY 15 OCTOBER 2018 7.30PM SATURDAY 16 MARCH 2019 7.30PM ST JOHN’S SMITH SQUARE ST JOHN’S SMITH SQUARE JOAN TOWER Fanfare for the ENESCU Romanian Rhapsody No.1 Uncommon Woman No.1 MAHLER Kindertotenlieder JOHN ADAMS Doctor Atomic Symphony Soloist: Julien Van Mellaerts

BERNSTEIN Divertimento for Orchestra LUTOSLAWSKII Concerto for Orchestra WILLIAM SCHUMAN Symphony No.3 Guest conductor: Holly Mathieson

MONDAY 26 NOVEMBER 2018 7.30PM MONDAY 13 MAY 2019 7.30PM ST JOHN’S SMITH SQUARE CADOGAN HALL HOLST Ballet music from The Perfect Fool LYADOV The Enchanted Lake RACHMANINOV Symphonic Dances HUW WATKINS Symphony VAUGHAN WILLIAMS Job: A Masque SIBELIUS Four Legends from the Kalevala for Dancing MONDAY 1 JULY 2019 7.30PM TUESDAY 22 JANUARY 2019 7.30PM ST JOHN’S SMITH SQUARE QUEEN ELIZABETH HALL KODALY Dances of Marosszék KORNGOLD Kings Row CHRIS LONG World première GERSHWIN Piano Concerto in F DVORAK Symphony No.6 Soloist: Richard Uttley RAVEL Daphnis et Chloé (complete ballet) BOOK TICKETS & Chorus: Epiphoni Consort FIND OUT MORE: