60th SEASON Walton Scapino: A Comedy Overture

Britten Violin Concerto Soloist: Fenella Humphreys

Interval – 20 minutes

Elgar Falstaff

Russell Keable conductor Alan Tuckwood leader

Monday 27 June 2016, 7.30pm St John’s Smith Square

Cover image: Robert Smirke’s Falstaff and the Dead Body of Hotspur

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 St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments.

Box office tel: 020 7222 1061. Website: www.sjss.org.uk. St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. TONIGHT’S PROGRAMME

WILLIAM WALTON 1902–1983

Scapino: A Comedy Overture

A virtuoso composition for a virtuoso orchestra, Scapino is a work of scintillating brilliance and brittle rhythms, commissioned to celebrate the fiftieth anniversary of the Chicago Symphony Orchestra in 1941. Walton first discussed the work with the orchestra’s conductor, Frederick Stock, in 1938 and his initial thoughts were for a suite in five movements. The final idea came from an etching in Jacques Callot’s Les Trois Pantalons of 1619. Scapino was a knavish servant; a note in the score describes him as ‘one of the less familiar characters of the Commedia dell’Arte… we owe him the word “escapade”, which is descriptive of the character’s stock-in-trade’. Walton completed the overture in London in December 1940 whilst he was working as an ambulance driver. It was to be the only ‘serious’ concert work he completed during the Second World War, the rest of his time being dominated by writing film scores. Stock conducted the first performance with the Chicago Symphony Orchestra in April William Walton 1941; Walton himself conducted the first British performance in November that year with the BBC Symphony Orchestra in Bedford, its wartime home. He revised the work in 1950, reducing the orchestration and making some cuts. The overture begins with a rush in the strings and a clatter of percussion. Scapino’s impertinent side is depicted by a bold syncopated trumpet tune followed by a more nonchalant motif in the oboes and violas. The second subject, a yearning theme in the violas and cor anglais, shows his more plausible roguery. These ideas are then tossed around in a continuous stream of whirling melodic fragments. The central section is like a serenade, beginning with a highly suggestive theme (an augmented version of the second subject) on the solo cello accompanied by plucked violins imitating a guitar against mocking comments from the woodwind. But this is soon swept aside by a free recapitulation of the opening, leading to a boisterous ending.

4 TONIGHT’S PROGRAMME

BENJAMIN BRITTEN 1913–1976

Violin Concerto

Moderato con moto Vivace — Cadenza Passacaglia: Andante lento

With its unusual and mesmerising sound-world, unlike anything he had created before, the Violin Concerto is one of Britten’s most haunting and remarkable works. It shares its elegiac mood with the Violin Concerto written in 1935 by Alban Berg, a composer Britten much admired and had wanted to study with. Composition began in November 1938, only four months after the premiere of the Piano Concerto. But it is a very different work, far more symphonic and with less bravura. Britten was still working on it when he left England for North America in May 1939; the score was finally completed in St Jovite, Quebec, in September 1939. The Concerto was written for the Spanish violinist Benjamin Britten Antonio Brosa, whom Britten often partnered in recitals. They had visited Spain together in 1936 and Brosa suggested that the sombre and intense nature of the work had more to do with Britten’s response to the defeats and horrors of the Spanish Civil War than with the Second World War, which broke out as he was completing it. He also recalled that the striking recurring rhythm on percussion at the opening was Spanish in origin. Britten persuaded Brosa to come to America to give the first performances, on two consecutive days in March 1940, with the New York Philharmonic conducted by John Barbirolli. These were a huge success for the twenty-six-year-old composer; Britten told Brosa that ‘the work will never be better played or more completely understood than it was by you on Thursday and Friday, and I am more than grateful to you for having spent so much time and energy learning it’. The American composer Elliott Carter was in the audience and heard it as ‘an English counterpart to Prokofiev and Shostakovich… nobody could fail to be impressed by the remarkable gifts of the composer, the size and ambition of his talent’. Britten made some slight revisions in 1958, tightening the form and clarifying the textures. He also reduced the complexity of Brosa’s editorial work on the solo part, restoring the original relationship between the virtuosic and symphonic elements of the work.

5 TONIGHT’S PROGRAMME

The Concerto has an unusual structure: a single fast movement sandwiched between two slow ones instead of the other way round. It was a form Britten was to use again in his next major work, the Sinfonia da Requiem. The first movement has a sonata structure, the soloist introducing both the haunting and chromatic first subject and the more muscular and rhythmic second subject. The movement reaches its climax at the point of recapitulation when the roles are reversed, the soloist imitating the percussion motif whilst the orchestral strings play the first subject. There is no reprise of the second subject. The aggressive scherzo, a kind of Dance of Death, is driving and spirited, sometimes grotesque in its brilliance. The central trio is more relaxed but the Dance of Death is never far below the surface and engineers its return with a disturbing transition scored for two piccolos and tuba over string tremolandi. After a substantial orchestral tutti a dazzling cadenza forges a link between the scherzo and the finalPassacaglia , a set of variations over a repeating bass line which originated in Spanish dance music. This was Britten’s first use (the one in the Piano Concerto dates from a later revision) of what was to become one of his favourite forms. But instead of a confident finale there is an extended lament. Trombones, heard for first time in the work, introduce the ground bass in a free fugal exposition. There are nine variations in which the soloist maintains a noble supremacy and even dares to invert the ground in the sixth variation. Falling woodwind are pitted against the soloist’s attempt to rise higher and an intense climax is reached in D major. But this cannot last and the orchestra subsides onto an open fifth whilst the soloist hovers inconclusively between major and minor.

6 TONIGHT’S PROGRAMME EDWARD ELGAR 1857–1934

Falstaff

In 1913, the year he completed Falstaff, Elgar was at the height of his fame and success. He had become a member of the Order of Merit, one of the highest honours, and now owned a mansion in Hampstead designed by the great architect Richard Norman Shaw. Yet although he was to live for another two decades, it was to be the last major orchestral work he completed. Elgar had been thinking about depicting Falstaff since 1902. He loved Shakespeare and was knowledgeable about him; his analytical note for the first performance shows his scholarship and close acquaintance with the experts. The Falstaff he chose to depict was not the caricature in The Merry Wives of Windsor but the ‘knight, a gentleman and a soldier’ of the history plays, a character with whom he felt a personal affinity. As he remarked to Eric Fenby, Delius’s amanuensis, in 1931: ‘Tell Delius that I get more like Falstaff every day’, adding that he regarded it as his best work. In November that year he made a recording which he Edward Elgar took delight in playing to visitors. Falstaff is indeed one of his great masterpieces, with perhaps his finest orchestration; it is impossible to imagine the music scored in any other way. Yet for many years it was the least performed of his major works. Elgar himself conducted the first performance in Leeds in October 1913, where it was received with cold respect. In Manchester later that month the reception was hardly enthusiastic; when it was first performed in London a few weeks later, conducted by Landon Ronald, to whom it is dedicated, the hall was half empty. It is a long and complex work, episodic and swift moving, which perhaps makes it difficult to take in at a first hearing. Of course Elgar was bitterly disappointed. He even sent the score to the conductor Thomas Beecham, whom he knew didn’t think much of his music, but Beecham didn’t bother to reply. The word ‘symphonic’ in the subtitle (Symphonic Study in C minor with two Interludes in A minor) is justified because the work has an exposition, a development and a recapitulation as well as scherzo-like episodes and the equivalent of a slow movement, ending with a symphonic epilogue of touching simplicity. Although in one continuous movement, the work falls into four main divisions. The opening section is a conversation between Falstaff and Prince Hal, the future Henry V. Falstaff’s theme is appropriately fat and luxuriant, with repeated dotted rhythms, and its variants bind the work together: staccato for the Gad’s Hill exploit, fugato at a moment of humiliation, distorted for drunkenness and augmented for sleep and death. Hal’s theme is a confident march.

7 TONIGHT’S PROGRAMME

The second section opens at the Boar’s Head tavern in London. Falstaff holds court with his entourage and a smooth new theme presents him as he imagines himself, ‘of most noble carriage’. Another, full of huge leaps, shows him as he really is: boastful and bombastic. The scene changes to Gad’s Hill, Kent, where Falstaff and his companions are waiting to ambush a convoy of bullion. But, unknown to them, Hal and a friend are plotting to rob them in turn. In a brief struggle Falstaff is overpowered and he returns to the Boar’s Head. A self-contained scherzo with a chirpy idea represents the women of the inn, the trio depicting a boastful Falstaff, on the solo bassoon, being greeted with derisive laughter. After a return of the scherzo he tries to present his case again but falls asleep, snoring. In this first interlude he yearns nostalgically for his days as a youth when he was page to the Duke of Norfolk. At the start of the next section civil war is in the air. Falstaff gathers together a group of his old soldiers in his friend Justice Swallow’s house in Gloucestershire and leads his ‘scarecrow army’ to fight for the king. Following the battle there is a scene of confusion and alarm. Falstaff returns to Swallow’s house and falls asleep in the orchard, dreaming of an eternal England of pipe-and-tabor dances and deep peace. This forms the second interlude. His reverie is interrupted by news that Henry IV has died and Hal proclaimed king. Falstaff rides to London, imagining himself now the second most powerful man in the land. The final section opens with the approach of Henry V’s coronation procession. Falstaff steps out from the crowd but is rebuffed with the cruel words, ‘I know thee not old man: fall to thy prayers’. A broken man, he retires to an inn, dreaming of past times. With a last thought of Hal as he was, he dies. The final word is with the new king; as Elgar wrote, ‘the man of stern reality has triumphed’.

© Fabian Watkinson 2016

8 ARTISTS’ BIOGRAPHIES BIOGRAPHIES

Russell Keable conductor

Russell Keable has established a reputation as one of the UK’s most exciting musicians. As a conductor he has been praised in the national and international press: ‘Keable and his orchestra did magnificently’, wrote the Guardian; ‘one of the most memorable evenings at the South Bank for many a month’, said the Musical Times. He performs with orchestras and choirs throughout the British Isles, has conducted in Prague and Paris (concerts filmed by French and British television) and recently made his debut with the Royal Oman

Symphony Orchestra in Dubai. As a Photo © Sim Canetty-Clarke champion of the music of Erich Korngold he has received particular praise: the British première of Korngold’s Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a world première of music from Korngold’s film score for The Sea Hawk. Keable trained at Nottingham and London universities; he studied conducting at London’s Royal College of Music with Norman Del Mar, and later with George Hurst. For over thirty years he has been associated with Kensington Symphony Orchestra, one of the UK’s finest non-professional orchestras, with whom he has led first performances of works by many British composers (including Peter Maxwell Davies, John Woolrich, Robin Holloway, David Matthews, Joby Talbot and John McCabe). Keable has also made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York. He is recognised as a dynamic lecturer and workshop leader. He has the rare skill of being able to communicate vividly with audiences of any age (from schoolchildren to music students, adult groups and international business conferences). Over five years he developed a special relationship with the Schidlof Quartet, with whom he established an exciting and innovative education programme. He also holds the post of Director of Conducting at the University of Surrey. Keable is also in demand as a composer and arranger. He has written works for many British ensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of their millennium celebration, was premièred in July 2000. He has also composed music for the mime artist Didier Danthois to use whilst working in prisons and special needs schools.

9 ARTISTS’ BIOGRAPHIES

Fenella Humphreys violin

With playing described in the press as ‘unforgettable’ and ‘a wonder’, violinist Fenella Humphreys enjoys a busy career combining chamber music and solo work. Performances have taken her around the world to venues including Wigmore Hall, Southbank Centre and Helsinki Music Centre. She has broadcast for the BBC, Classic FM, Deutschlandradio Berlin, Westdeutscher Rundfunk, ABC Classic FM (Australia) and Korean radio, and performed Walton’s Violin Concerto at the composer’s home at the invitation of the Walton Trust in a performance recorded by Canadian television. Fenella’s first concerto recording, of Christopher Wright’s Violin Concerto with the Royal Scottish National Orchestra and Martin Yates, was released on Dutton Epoch in 2012 to critical acclaim and was selected as Orchestral CD of the Month in BBC Music Magazine, with a five-star review. Photo © Mat Smith A number of eminent British composers have written works for Fenella. During the 2014/15 season she premiered Bach to the Future, a set of six new unaccompanied violin works by Cheryl Frances-Hoad, Gordon Crosse, Sally Beamish, Adrian Sutton, Piers Hellawell and Peter Maxwell Davies. The project has so far seen performances at Aldeburgh Festival, St Magnus International Festival, Presteigne Festival, Ryedale Festival, The Forge, Manchester University and Queen’s University, Belfast, and is to be recorded over two CDs for Champs Hill Records. The first of these discs, released in August 2015 — described as ‘a radiant recording’ of ‘golden precision and effortless virtuosity’ in a five-star review in The Scotsman — was picked by BBC Music Magazine as October’s Instrumental Disc of the Month. Concertmaster of the Deutsche Kammerakademie, Fenella also enjoys guest leading and directing various ensembles in Europe. As a chamber musician she has collaborated with artists including Alexander Baillie, Adrian Brendel, Pekka Kuusisto and Martin Lovett, and is regularly invited by Steven Isserlis to take part in Open Chamber Music at the International Musicians’ Seminar, Prussia Cove. Fenella can also be found playing Tango with the great Uruguayan bandoneonist Héctor Ulises Passarella. Fenella’s teachers have included Sidney Griller, Itzhak Rashkovsky, Ida Bieler and David Takeno at the Purcell School, Guildhall School of Music and Drama and the Robert Schumann Hochschule in Düsseldorf. She has taken part in masterclasses with musicians including Thomas Brandis, Lorand Fenyves, Anthony Marwood, Thomas Riebl and Krzysztof Penderecki. Fenella plays a beautiful violin from the circle of Peter Guarneri of Venice, kindly on loan from Jonathan Sparey.

10 ARTISTS’ BIOGRAPHIES

Kensington Symphony Orchestra

Founded in 1956, Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest non-professional orchestras in the UK. Its founding aim — ‘to provide students and amateurs with an opportunity to perform concerts at the highest possible level’ — continues to be at the heart of its mission. KSO has had only two Principal Conductors — the founder, Leslie Head, and the current incumbent, Russell Keable, who recently celebrated his thirtieth year with the orchestra. The dedication, enthusiasm and passion of these two musicians has shaped KSO’s image, giving it a distinctive repertoire which sets it apart from other groups. Revivals and premières of new works frequently feature in the orchestra’s repertoire alongside the major works of the nineteenth, twentieth and twenty-first centuries. World and British premières have included works by Arnold Bax, Havergal Brian, Nielsen, Schoenberg, Sibelius, Verdi and Bruckner. Russell Keable has aired a number of unusual works, as well as delivering some significant musical landmarks — the London première of Dvořák’s opera Dimitrij and the British première of Korngold’s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as ‘a feast of brilliant playing’). In January 2004 KSO, along with the London Oriana Choir, performed a revival of Walford Davies’s oratorio Everyman, a recording of which is available on the Dutton label. Contemporary music has continued to be the life-blood of KSO. An impressive roster of composers working today has been represented in KSO’s programmes, most recently including Magnus Lindberg, Charlotte Bray, Benedict Mason, Oliver Knussen, Thomas Adès, Brett Dean, Anne Dudley, Julian Anderson, Rodion Shchedrin, John Woolrich, Joby Talbot, Peter Maxwell Davies and Jonny Greenwood. In December 2005 Errollyn Wallen’s Spirit Symphony, performed with the BBC Concert Orchestra and broadcast on BBC Radio 3, was awarded the Radio 3 Listeners’ Award at the British Composer Awards. In 2014 KSO performed the world première of Stephen Montague’s From the Ether, commissioned by St John’s Smith Square to mark the building’s 300th anniversary. During the 2014/15 season KSO was part of Making Music’s Adopt a Composer scheme, collaborating with Seán Doherty on his work Hive Mind. From the very beginning KSO has held charitable aims. Its first concert was given in aid of the Hungarian Relief Fund, and since then the orchestra has supported many different charities, musical and non-musical. In recent years it has developed links with the Kampala Symphony Orchestra and Music School under its KSO2 programme, providing training, fundraising and instruments in partnership with the charity Musequality. In 2013 and 2015 the orchestra held Sponsored Play events in Westfield London shopping centre, raising over £30,000 for the charity War Child. The orchestra also supports the music programme at Pimlico Academy, its primary rehearsal home. The reputation of the orchestra is reflected in the quality of international artists who regularly appear with KSO. In recent seasons soloists have included Sir John Tomlinson, Nikolai Demidenko, Richard Watkins, Jean Rigby and Matthew Trusler; and the orchestra enjoys working with the new generation of up-and-coming musicians, including BBC Young Musician of the Year 2014 Martin James Bartlett and Young Classical Artists Trust artists Ji Liu and Richard Uttley. The orchestra works annually with guest conductors including most recently Michael Seal, Nicholas Collon, Alice Farnham, Andrew Gourlay and Jacques Cohen.

11 YOUR SUPPORT ARTISTS’ BIOGRAPHIES FRIENDS OF KSO

To support KSO you might consider joining our very Patrons popular Friends Scheme. There are three levels of Sue and Ron Astles membership and attendant benefits: Kate Bonner John and Claire Dovey Friend Bob and Anne Drennan Unlimited concessionary rate tickets per concert, priority Malcolm and Christine Dunmow bookings, free interval drinks and concert programmes. Mr and Mrs G Hjert Daan Matheussen Premium Friend Jolyon and Claire Maugham A free ticket for each concert, unlimited guest tickets at David and Mary Ellen McEuen concessionary rates, priority bookings, free interval drinks Michael and Jan Murray and concert programmes. Linda and Jack Pievsky Neil Ritson and family Patron Kim Strauss-Polman Two free tickets for each concert, unlimited guest tickets at Keith Waye concessionary rates, priority bookings, free interval drinks and concert programmes. Premium Friends David Baxendale All Friends and Patrons can be listed in concert Claude-Sabine and Fortuné Bikoro programmes under either single or joint names. Cyril and Charlotte Bryan We can also offer tailored Corporate Sponsorships for Dr Michele Clement and companies and groups. Please ask for details. Dr Stephanie Munn John Dale Cost of membership for the sixtieth season is: Alastair Fraser Friend...... £60 Michael and Caroline Illingworth Premium Friend. . . . . £125 Maureen Keable Patron ...... £220 Nick Marchant Richard and Jane Robinson To contribute to KSO by joining the Friends please contact David Baxendale on 020 8653 5091 or by email at Friends [email protected]. Anne Baxendale Robert and Hilary Bruce Yvonne and Graeme Burhop George Friend Robert and Gill Harding-Payne Rufus Rottenberg Paul Sheehan

12 YOUR SUPPORT OTHER WAYS TO SUPPORT US

Sponsorship and Donations

One way in which you, our audience, can help us very effectively is through sponsorship. Anyone can be a sponsor, and any level of support — from corporate sponsorship of a whole concert to individual backing of a particular section or musician — is enormously valuable to us. We offer a variety of benefits to sponsors tailored especially to their needs, such as programme and website advertising, guest tickets and assistance with entertaining. For further details about sponsoring KSO, please speak to any member of the orchestra, email [email protected] or call David Baxendale on 020 8653 5091. As a charity, KSO is able to claim Gift Aid on any donations made to the orchestra. Donating through Gift Aid means KSO can claim an extra 25p for every £1 you give, at no extra cost to you. Your donations will qualify as long as they’re not more than four times what you have paid in tax in that financial year. If you would like to make a donation, or to inquire about Gift Aid, please contact the Treasurer at [email protected] for further information.

Leaving a Legacy: Supporting KSO for the next generation

Legacies left to qualifying charities —­ such as Kensington Symphony Orchestra — are exempt from inheritance tax. In addition, since April 2012, if you leave more than 10% of your estate to charity the tax due on the rest of your estate may be reduced from 40% to 36%. Legacies can be left for fixed amounts (‘specific’ or ‘pecuniary’ bequests) as either cash or shares, but a common way to ensure your loved ones are provided for is to make a ‘residuary’ bequest, in which the remainder of your estate is distributed to one or more charities of your choice after the specific bequests to your family and friends have first been met. Legacies, along with conventional donations, to KSO’s Endowment Trust allow us to better plan for the next fifty years of the orchestra’s development. If you include a bequest to KSO in your will, telling us you have done so will enable us to keep you informed of developments and, if you choose, we can also recognise your support. Any information you give us will be treated in the strictest confidence, and does not form any kind of binding commitment. For more information about leaving a legacy please speak to your solicitor or Neil Ritson, Chairman of the KSO Endowment Trust, on 020 7723 5490 or email [email protected].

13 YOUR SUPPORT

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14 TONIGHT’S PERFORMERS ORCHESTRA

First Violin Cello Bassoon Music Director Alan Tuckwood Joseph Spooner Nick Rampley Russell Keable Sabina Wagstyl Annie Marr-Johnson Laila Woozeer Helen Waites Ana Ramos Trustees Sarah Hackett Hannah Reid Contrabassoon Chris Astles Susan Knight Nicola Jackson Sheila Wallace David Baxendale Helen Turnell David Baxendale Elizabeth Bell Claire Maugham Linda Morris French Horn John Dovey Claire Dovey Mark Anderson John Boswell Judith Ní Bhreasláin Ria Hopkinson Vanessa Hadley Heather Pawson Helen Stanley Heather Pawson Nick Rampley Matthew Hickman Double Bass Jim Moffat Richard Sheahan Jo Johnson Stephanie Fleming Ed Corn Sabina Wagstyl Erica Jeal Robin Major Heather Bingham Sam Wise Trumpet Endowment Trust Andy Neal Stephen Willcox Robert Drennan Second Violin Oliver Bates John Hackett Graham Elliott David Pievsky Jamie Parkinson Leanne Thompson Judith Ní Bhreasláin Rufus Rottenberg Nick Rampley Francoise Robinson Flute Trombone Neil Ritson Jenny Davie Chris Harrison Phil Cambridge Kathleen Rule Claire Pillmoor Ken McGregor Event Team Videl Bar-Kar Dan Dixon Chris Astles Jeremy Bradshaw Bass Trombone Beccy Spencer Judith Ní Bhreasláin Piccolo Stefan Terry Sabina Wagstyl Bronwen Fisher Dan Dixon Liz Errington Claire Pillmoor Tuba Marketing Team Jill Ives Neil Wharmby Jeremy Bradshaw Adrian Gordon Oboe Jo Johnson James Scollick Charles Brenan Timpani Guy Raybould Juliette Murray-Topham Tommy Pearson Louise Ringrose Viola Beccy Spencer Cor Anglais Percussion Membership Team Guy Raybould Chris Astles Tim Alden Juliette Barker Nick Macrae Juliette Murray-Topham Andrew Barnard David Baxendale Sam Blade Catherine Hockings Phil Cambridge Sally Randall Clarinet Simon Willcox Robin Major Jane Spencer-Davies Chris Horril Daniela Das Dores Claire Baughan Harp Programmes Sonya Wells Graham Elliott Bethan Semmens Kathleen Rule Alison Nethsingha Bass Clarinet Graham Elliott

15 61st SEASON

Monday 3 October 2016, 7.30pm (St John’s Smith Square) JOHN ADAMS Slonimsky’s Earbox COLIN MATTHEWS Horn Concerto (Soloist: Richard Watkins) BARTÓK Concerto for Orchestra Monday 21 November 2016, 7.30pm (St John’s Smith Square) DEBUSSY Prélude à l’après-midi d’un faune DUTILLEUX Métaboles BERLIOZ Roméo et Juliette (excerpts) Monday 23 January 2017, 7.30pm (Cadogan Hall) STRAVINSKY Scènes de ballet BRUCKNER Symphony no.4 Saturday 4 March 2017, 7.30pm (St John’s Smith Square) With guest conductor Holly Mathieson BEETHOVEN Coriolan Overture BRETT DEAN Testament KORNGOLD Symphony in F sharp

Monday 15 May 2017, 7.30pm (Barbican Hall) 60th ANNIVERSARY CONCERT MATTHEW TAYLOR Symphony no.4 (world première)* MAHLER Symphony no.2

* with funding provided by Arts Council England

Monday 3 July 2017, 7.30pm (St John’s Smith Square) NIELSEN Rhapsody Overture: An Imaginary Journey to the Faroe Islands ARNOLD Rinaldo and Armida NIELSEN Symphony no.6