NATIONAL YOUTH ORCHESTRA OF GREAT BRITAIN

5 January, 7.30pm The Bridgewater Hall, Manchester

6 January, 7.30pm Royal Concert Hall, Nottingham

7 January, 7.00pm Barbican, London

Liadov THE ENCHANTED LAKE Dukas THE SORCERER’S APPRENTICE

— INTERVAL —

Bartók DUKE BLUEBEARD’S CASTLE

ROBERT HAYWARD Bluebeard CLAUDIA MAHNKE Judith DAISY EVANS Director

SIR MARK ELDER Conductor

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 1 18/12/2017 14:01 SARAH ALEXANDER OBE

Chief Executive & Artistic Director

Welcome to the NYO Winter concert 2018! auditions in 2017 after having their skills and confidence honed in NYO Inspire NYO is renewed each year through workshops, which are aimed at committed competitive auditions, so our Winter teenage musicians who lack the opportunity concert is always a first for around half our to advance their ensemble skills. Having won musicians. This year it is also a first for NYO: a seat in NYO, they in turn will be helping the first time we have tackled a complete deliver NYO Inspire workshops, in order to opera. Our orchestra could not have a give future audition candidates the same better-qualified guide; Sir Mark Elder is not helping hand that they received. Our only one of the most accomplished operatic 164 NYO Musicians are making a huge conductors in the business, he is also an NYO commitment in 2018, together volunteering alum who has conducted NYO regularly over 1000 days of their time to help inspire over the years, and understands as well as other teenage musicians, and also to take anyone how to get the most from our brilliant orchestral music into secondary schools, teenage musicians. Welcome to Robert where around 3000 teenagers will be given Hayward and Claudia Mahnke, bringing their first ever taste of live orchestral music. valuable experience to their roles, and to Daisy Evans bringing theatrical life NYO is an organisation built on enormous to our performance. passions and commitment of some incredible people. Sadly we lost a key figure in 2017: Our decision to tackle an opera led us Derek Bourgeois who ran the orchestra from indirectly to another first: Chris Riddell is 1984 to 1993. Many of our audiences and NYO’s first-ever Artist in Residence. I spoke supporters will remember his charismatic style to Chris, Children’s Laureate 2015-17, with and unwavering charm. An accomplished the thought that he might make illustrations composer, Derek presided over an era of for Bluebeard’s Castle. Instead, Chris agreed daring programming at NYO, including to take on a far broader role, exploring ways many works from the 20th Century, perhaps of communicating his enjoyment of music the boldest being Schönberg’s Gurrelieder, and musicians through illustration. We’re with Jessye Norman and Pierre Boulez. very much looking forward to sharing his His contribution to NYO and British musical work with you as the year goes on. life is cherished by all who knew him.

Just over half our intake of new musicians We do hope you enjoy this – 44 of them to be precise – succeeded in evening’s programme.

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 2 18/12/2017 14:01 PATRICK BEVAN

Leader 2018

Welcome to the first concert tour of the This evening’s programme consists of National Youth Orchestra of Great Britain three pieces composed within less than 2018. My name is Patrick Bevan and I have 15 years of each other. Although written the huge honour and privilege to lead this over 100 years ago, they share themes and wonderful orchestra in this, our 70th ideas familiar to teenagers today. We were anniversary year. all told fairy tales as children and have more recently read books or watched films about What lies ahead of us as an orchestra is magic and the supernatural. Despite having an amazing year of joyful music-making. themes in common, the three pieces convey The concert you will hear this evening is the a wide range of different stories and culmination of our Winter Residency where emotions. As an orchestra we will need to the 2018 orchestra met together for the first use all our musicality, instrumental technique time, renewing old friendships and making and imagination to produce the full range new ones. The Winter Residency is always of tone colours and moods required. intensive as we have just a week to meld together as an orchestra and to master You can always rely on NYO to bring challenging repertoire before embarking boundless energy to the task! There are on our concert tour. We have undertaken sure to be fireworks this evening! We all a packed schedule of sectionals with really hope you enjoy the performance. individual instrumental tutors and full orchestra rehearsals under the watchful eye and inspirational musical insight of Sir Mark Elder. We can’t wait to perform for you tonight!

NYO always brings together an unbelievable pool of talent and this year I will be encouraging all members of the orchestra to put the music right at the centre of what we do, communicate with each other as we play and through that communicate the music out to our audiences.

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 3 18/12/2017 14:01 ANATOLY LIADOV THE ENCHANTED LAKE (1909)

From Caravaggio’s 16th century paintings Liadov’s skill likes not in how he deploys where candlelit faces glow to the blooming symphonic forces but how he holds them melody of Haydn’s ‘Sunrise’ quartet two back. A rumble of distant thunder from the hundred years later, artists have always kettle drums is hushed by a pacifying horn; tried to catch the light. In the late 19th late on, a tentative oboe speaks up, but the century, painters like Monet devoted flute — effectively repeating its words multiple canvasses to charting the change — seems to console it. Eventually, gently of light on a particular surface, be it trilling violins seem to rise and rise, almost haystacks or lily ponds. In music, Debussy evaporating before our very ears. Were found new luminosity in his delicately it not for the vast orchestra in front of us, orchestrated Prélude à l’après-midi we might imagine the whole thing was d’un faune, and others rushed to mimic a mirage. its magic.

Linking it to the concert’s other two works, the Russian composer Liadov subtitled his short tone poem ‘a fairy tale scene’. Across its waters, Debussy’s hallmarks sparkle: a sense of serenity is gently conjured by the harp, and strings drift almost imperceptibly from one chord to another in slow motion. The music almost sleepwalks, moving yet often imperceptibly, continually resisting any gestures or climaxes that might cloud its surface. Melodies, it seems, are forbidden.

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 4 18/12/2017 14:01 DID YOU KNOW? • Liadov was originally asked by the impresario Diaghilev to write the music for his ballet The Firebird – before the assignment went to Stravinsky and made his name.

• The composer is often said to have squandered his promise, being quite the party animal and marrying a rich woman to ease pursuing an income of his own.

• In fact, he was a dedicated teacher whose pupils included Prokofiev. He also did much to promote other Russian composers including Glinka and Glazunov.

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 5 18/12/2017 14:01 PAUL DUKAS THE SORCERER’S APPRENTICE (1897)

Thanks to Mickey Mouse in Disney’s but then something doubly troublesome Fantasia, it’s easy for us to envisage the emerges: the main riff begins again, not just magical scenario evoked by The Sorcerer’s on bassoons but on clarinets too, just a few Apprentice. But before the birth of cinema, footsteps behind – Dukas’ ingenious means the music alone had to make audiences of suggesting that, by chopping the broom believe in the tale of a trainee wizard who in half, the apprentice has inadvertently summons a broomstick to wash the floor. made two.

It’s a sign of Dukas’ inspired orchestration The melody then can’t stop duplicating that you hardly need programme notes to itself, leaping to life on one instrument follow the story. Plucked violins instantly after another, and the entire orchestra plunge us into gothic gloom, flutes flutter hurtles into a musical whirlpool. Finally, like candlelight, and a series of foreboding a triangle resounds like an alarm bell and melodic steps lead us like a spiral staircase furious blasts herald the intervention of deeper into the dark. We suddenly find a higher force: the sorcerer himself has ourselves being tugged along by mischievous returned to clean up the mess. woodwind and trumpet representing the apprentice himself. With him, we watch as something inanimate wakes, its faltering footsteps conjured by contrabassoons and clarinets. Then it lumbers into the light, with the bassoons’ woody hue lending the perfect texture to portray a broomstick brought to life. From the ensuing pace, we get a clear sense that the broom won’t stop bringing water from the well.

Violin torrents crash around the main theme, vividly depicting the deluge. When the music stops, we imagine the apprentice has felled the broom in its tracks, 6

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 6 18/12/2017 14:01 DID YOU KNOW?

• History may regard Dukas as a ‘one hit wonder’ thanks to this piece, but its influence was huge: Stravinsky practically stole its quicksilver strings for his Fireworks and the impish bassoon is clearly echoed in Holst’s Uranus.

• The tale of the mischievous apprentice comes from a short story by Goethe, author of Faust. He in turn took inspiration from the ancient Greek tale of Philopseudes in which a farmhand accidentally brings to life a rowdy army of pestles to crush grain.

• Dukas’ catalogue of works is fairly small. A perfectionist, he burned many pieces he didn’t sufficiently like but – like Liadov – also devoted much of his life to promoting others, teaching at the Paris Conservatoire and editing new folios of Couperin, Rameau and Beethoven. 7

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 7 18/12/2017 14:01 BÉLA BARTÓK DUKE BLUEBEARD’S CASTLE (1911—12)

ROBERT HAYWARD Bluebeard CLAUDIA MAHNKE Judith

Actors from the National Youth Theatre

SIR MARK ELDER Conductor DAISY EVANS Director MARK BURNS Assistant Director JAKE WILTSHIRE Lighting Director ROBERT PRICE Lighting Assistant JOSS BUNDY Opera Stage Manager CHRIS RIDDELL Illustrations

Libretto by Béla Balazs by arrangement with Universal Edition (London) Limited 8

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 8 18/12/2017 14:01 Prologue torture chamber. Muted brass and jaunty violins make stabbing gestures. The initial You know the story. It likely featured in semitone becomes a trill of alarm, scurrying a big book of fairy tales when you were across the orchestra. Aghast but undeterred, young, given it was written by Charles Judith presses on. Perrault, author of Mother Goose. Duke Bluebeard brings home his bride Judith to Second Door his vast castle. Inside, she discovers seven locked doors. She bids him to open them, Fanfares! We find ourselves in Bluebeard’s one by one. The honeymoon is over, as armoury, little infantries of wind and brass startling surprises lie within. This may be conjuring the pageantry of victories past. the same mystic kingdom as the Liadov And yet they somehow seem stifled, tinny and Dukas, for once again we find and twisted, more like the strutting circus ourselves lured in by quietly foreboding musicians of Stravinsky’s Petrushka (written strings. A restless oboe stirs: a startled owl just the year before) than a jubilant military maybe, or a flickering flame along the band. Judith notices that blood gilds every ramparts. Yet this fleeting figure is a key blade. Here you may note how hers and in itself: imagine two adjacent notes on Bluebeard’s vocal lines are at odds musically: a piano keyboard – the oboe errs between when she is alarmed, he is solemn; when she one and the another, a simple ‘semitone’ is resigned, he is agitated. When Bartók interval that will glint repeatedly as we entrusts one with a fairly simple folkish melody, venture deep into the castle. A clarinet the other leaps jagged intervals in every urges us on: it too will come to have a phrase. Can they ever reconcile? Yet, the distinctive presence, coiling round Judith stage directions state that as each door and Bluebeard’s words, almost like the opens, fresh light is cast into the castle, tempting serpent in Eden. A spoken so Judith soldiers on, emboldened. introduction, sometimes heard before the music begins, invites us to question Third Door whether what we see in the opera is real, or all in the mind. In concert, with no For a moment, optimism strikes. Frantic lunges scenery, this proposition is made all are replaced by serene, suspended chords, the more tantalising… aglimmer with twinkling harp and celeste. Judith feasts her eyes on Bluebeard’s First Door stacked gold and jewels, taking little heed of ghostly violin figures and distantly baying As Judith slips the first key into its lock, horns. Then she realises: the rubies she sees a very human sigh arises from the orchestra. are actually blood-soaked gemstones. The It suggests the castle is alive. Moreover, two notes of the opening semitone sounds in concert especially, it suggests the stridently together, sharpened shards amid orchestra is the castle. Throughout, you all the glitter. might think of the instruments as the castle’s inanimate trappings, just like in Beauty and Fourth Door the Beast, watching, waiting, yearning that Judith might free them from enchantment. Judith’s hopes stir as an exquisite harp The door opens. Strings shiver. A shrill cascade casts us into a garden. A pastoral piccolo and xylophone scuttle up and haven is painted first by a plaintive horn down: it’s an unsettling effect, almost as if then ardent violins, yet both find themselves the xylophonist were dragging their beaters entwined by woodwind uttering the up and down your ribcage. Within lies all ominous semitone from the start. Judith Bluebeard’s shackles and daggers: his notices the roses’ thorns and blood

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 9 18/12/2017 14:01 Sixth Door

We find ourselves at a subterranean lake. Droplets fall, casting shadowy ripples. Bartók ingeniously replicates this effect with breathy little flurries of flute, harp and celeste. Has dread ever been better conjured by music? The sound may as well be the musical codification of shudders down your spine. Judith’s stark outbursts are now reduced to a submissive whisper as she discovers the lake consists purely of tears. Bluebeard says they are his, suggesting remorse for all his apparent treachery. It is music of intense regret, fuelling the view of some historians that Bluebeard is Bartók himself (one BB standing in for another), the whole opera reflecting demons of his own, tightly locked away. Judith comes to realise what lies behind the last door: Bluebeard’s slain wives, whose blood has tinged every other room. The fateful semitone pounds over and over. Even yet, she loves him: the violins Illustration Copyright © Chris Riddell 2017 wistfully pine, echoing the love music of Debussy’s Pelleas and Melisande, another speckling the petals. A flute fluttering like influential work that young Bartók surely a butterfly repeatedly seems to exhaust heard as he set out to write his own opera. itself, spiraling earthbound. The violins, almost wanting to emulate Richard Strauss’ Final Door sunny Rosenkavalier (first heard in 1911), find their ardour turning into anguish, The key turns. The door opens. We drop redolent of his earlier, darker Salomé. a semitone and a funereal dirge begins. Fifth Door But wait: in a twist from the classic fairy tale, the former wives are not dead but yet living, silent and resigned to their confinement. Judith anxiously flings open the fifth door Bluebeard animatedly praises them each in to be met by a blaze of light. The orchestra turn – the sincerity of his words matched by radiates spectacular major triads as a strumming harp and tuneful violins. Judith Bluebeard and Judith step out onto a comes to realise her fate lies among them. balcony overlooking his vast kingdom. As he adorns her with jewels, husband and Here we find ourselves in C major, as far wife strikingly sing together for the first time. harmonically as one can be from F# minor She steps inside the room and the door which opens and closes the opera. closes behind her. In the fading light, we Bluebeard’s folk-like melody is contented, hear the ominous opening semitone anew. almost cheerful. Might this courageous We are back where we started. The story is woman yet save him? But again, Judith set to recur, possibly for all time… spies not rain but blood falling from clouds: panicked woodwind then strings lurch left and right as she insists Bluebeard hand over the last two keys. 10

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 10 18/12/2017 14:01 DID YOU KNOW? • Bartók was not the first to write a Bluebeard opera. He was beaten to it in 1907 by none other than Paul Dukas.

• The libretto, by Béla Balázs, was originally intended for Bartók’s friend, the composer Kodály. When Balázs was exiled for communist sympathies, the opera was banned and only revived near the end of Bartók’s life in 1936.

• Of the various filmed versions of Duke Bluebeard’s Castle on YouTube, worth a look for its flambuoyant design and effects is the 1963 production by Michael Powell, celebrated British director of The Red Shoes and A Matter of Life and Death.

Illustration Copyright © Chris Riddell 2017 11

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 11 18/12/2017 14:01 MY NYO INSPIRE STORY Photo: Susana Sanromán

The philosophy behind NYO Inspire is NYO Inspire violinist Megan shares her simple: to give breakthrough experiences of experiences in NYO Inspire: orchestral music to teenage musicians and audience members with a particular focus of NYO Inspire has really changed my life. empowering students from state education I went on my first string ensemble course in and the BAME community. For the last three February 2016 with a too small, cheap violin years, this national programme has celebrated and no real violin teacher apart from my mum. the power of peer inspiration and learning, It was my first ever music residency, I was and radically increased the number of extremely nervous and I had no idea what people touched by NYO orchestral brilliance. to expect. Talking to new people and sharing a room with someone I had never met before was nerve-racking, but the whole experience changed me as a person,

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 12 18/12/2017 14:01 giving me so many new social skills and NYO Inspire Days are immersive one- really boosting my confidence. Perhaps day events of orchestral workshops and the game of sardines on section night rehearsals and offer the chance to play helped! Most of all I loved being coached as a full 120-piece symphonic orchestra by the wonderful violin tutor, Paulette, who alongside NYO Musicians. The days are miraculously changed the section’s sound, aimed at grade 6-8+ teenage musicians as well as my playing. I remember coming and you can apply on our website 2 away from that residency feeling different, months before each event. as if I had grown up and discovered a serious passion for music. NYO Inspire Ensembles are three-day residencies in orchestral family groups I couldn’t believe it when I was invited on – Strings, Winds, Brass and Percussion – the 10 day NYO Inspire Orchestra course. that explore challenging repertoire and Playing alongside some of the best young ensemble playing techniques. Musicians musicians in the country felt surreal! can apply by being nominated by their music I remember sitting in the first tutti rehearsal of hub, music service, arts organisation, or Nino Rota’s La Strada and not being able to music teacher, or through the open website contain a massive grin. I knew straight away application. We also invite musicians that this was something special. I learnt SO MUCH we have met at auditions and returning about violin and orchestral playing on that NYO Inspire Musicians to apply. course, and was totally INSPIRED by the talented, friendly and kind people around me; NYO Inspire Orchestra continues teenagers from all walks of life, from across NYO’s bold mission to give breakthrough the country, brought together by a love of experiences of orchestral music to making music. After five days of rehearsals, teenagers everywhere. It consists of a a jazz night, section night and workshops, we six-day residential course and a four day took La Strada on tour to schools around the concert tour to secondary schools and West Midlands. I will always remember the youth centres where thousands of young moment we finished performing at Selly people are given the chance to hear a full Park Technology College for Girls and the orchestra perform live, many no doubt for audience went wild. What an amazing feeling the first time. Musicians are invited from to know we had inspired teenagers just NYO Auditions, NYO Inspire Ensembles, like ourselves. and NYO Inspire Days to join NYO Inspire Orchestra. NYO Inspire has shown me that I can take music anywhere I want to, and it is actually in If you are interested in getting involved, my power to do so. I now have a new, inspiring please email [email protected] or visit violin teacher, a (quite good) violin and I’ve nyo.org.uk/inspire. joined CBSO Youth Orchestra. Two years ago I wouldn’t have been able to find my way Major Sponsor here, but NYO Inspire has shown me how. of NYO Inspire

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 13 18/12/2017 14:01 NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 14 14 valued. particularly welcomedand of ourcountry,wewere representatives Berlioz’s timeinBritain,soas celebrating special as thisyearthefestivalwas Itwasparticularly Berlioz’s hometown. André, three daysinhot,sunnyCôte-Saint- spent residency andtheBBCProms,125ofus Two weeksafterourintensivesummer tour toFrance toplayattheBerliozFestival! anamazing the endofouryeartogetherwith principal cellist.Lastsummer,wecelebrated Hi there!MynameisGiuliaI’mNYO’s orchestra’s recent tour to Festival southeastern Berlioz in France. NYO’s da Cruz Principal reflects Giulia Cellist the on FRANCE NYO IN the hall. theacousticofincredibly wellwith Polaris astheoffstagebrass worked Overture. Myfavouritepartwasplaying and added Berlioz’sRob-RoyMacGregor of Spring,andThomasAdès’sPolaris, TheRite our summertour,Stravinsky’s we performedtwoofourpiecesfrom This culminatedinafinalconcertwhere repertoire tothelocalsandfestivalgoers. poolside, showcasingthebestpartsofour marketplace, agorgeouschâteauandeven Over thecourseoftourweplayedina 18/12/2017 14:01

Photo: Festival Berlioz NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 15 below, or visit ourYouTubebelow, orvisit channel. France inourshortfilm.ScantheQRcode wegotuptoin Find outmoreaboutwhat unbelievable endtoNYO 2017. an culture andenjoythefoodbutitwas only did welearnmoreaboutFrench not It wasafantasticcoupleofdaysas orchestra performHandel’sFireworks music. watchingTheConcertSpirituel display, whilst overlooking thecastleandastunningfireworks was anighttoremember.We allsatonahill multiple icecreams!However,thatevening the publicbutmostlyenjoyedweatherand churning. We performedchambermusicto butter- and old tradessuchasbroom-making traditional costumeandcraftsmenreproducing For thefestival,therewere peopledressedin fairy-tale castle-turretsandflagsincluded. wasareal Château dePupetièreswhich One ofthehighlightswasdayspentat theaudience. with boundaries andshareourloveofmusic it wasinspiringtobeablecrossthese French jokes!Despitethelanguagebarrier, kind enoughtolaughatsomeofmyterrible audience wasverywelcomingandeven At firstIwasREALLY nervous,howeverthe introduce theconcertinFrench totheaudience. That eveningIwasgiventheopportunityto 18/12/2017 14:01 15

Photo: Jason Alden Photo: Festival Berlioz ABOUT NYO

The National Youth Orchestra of Great musical peers in ensembles. Thousands Britain is internationally celebrated as the of teenagers experience thrilling symphonic world’s greatest orchestra of teenagers. performances by NYO in their schools. Recruiting its 164 teenage musicians from NYO also hosts unique pre-concert every background and every corner of the receptions for teenagers. UK, the orchestra rehearses in residence three times a year, working with the worlds NYO is renowned for its bold approach leading conductors, tutors and soloists. to new music, giving world premieres by The orchestra performs in the UK’s most leading composers. In recent years the iconic concert halls, and its distinct sound, BBC Proms has given a platform for music performance verve and musical brilliance by Anna Meredith, Tansy Davies and Iris is celebrated in 5 star reviews in the national Ter Schiphorst. NYO joyfully promotes new media. In 2016 NYO was proud to receive music within its ranks, with a dedicated the RPS Ensemble Award, and in 2012 was section of six prolific teenage composers. the first organisation to be awarded the Queens Medal for Music. NYO is an NYO is Southbank Centre’s Associate extraordinary emblem of what the Orchestra and, as Classic FM’s Orchestra nation’s teenagers can achieve. of Teenagers, collaborates with the broadcaster to offer £5 tickets to under-25s Since its founding in 1948 by Dame Ruth to all NYO concerts. The BBC generously Railton, NYO has nurtured the dreams of broadcasts all NYO concerts on BBC Radio teenage musicians including many leading 3 and a new collaboration with online music musical voices; from Sir Simon Rattle, channel Boiler Room will see NYO concerts Sir Mark Elder and Kwamé Ryan to Alison streamed online alongside exclusive behind- Balsom, Thomas Adès and Judith Weir. the scenes footage. NYO alumni sit in 25% of principal seats in London orchestras, have founded ensembles NYO relies on voluntary donations for including the London Sinfonietta, Aurora 70% of its income. Every year, we welcome Orchestra, and Multi-Storey Orchestra, our individual, trust, corporate and legacy and hold leadership positions at supporters to concerts and events. They are major conservatoires. all committed to supporting our musicians and ensuring that they enjoy an empowering NYO Musicians are the future of orchestral and transformative experiences in NYO music and powerful advocates. We think of and NYO Inspire. NYO as an innovation engine, fuelled by teenagers’ energy, creativity, skills and 2018 is NYO’s 70th birthday and further desire to engage with other teenagers, who celebrations include a totally teenage are their future audience. Through NYO take on Bernstein’s concept of the young Inspire, NYO Musicians lead workshops people’s concept, and immersion into all over the UK to include hundreds of their the musical world of composer Sir George Benjamin. 16

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 16 18/12/2017 14:01 NYO ON TOUR IN 2018

There is nothing quite like an NYO concert. SPRING To witness the power and passion of a 6—7 Apr, Royal Festival Hall, London performance by the world’s greatest orchestra of teenagers – 164 musicians BERNSTEIN MASS: A Theatre Piece to be precise – is a truly unforgettable and for singers, players & dancers inspiring experience. But don’t just take our word for it… MARIN ALSOP Conductor 7 Apr, Symphony Hall, Birmingham ‘a brilliantly robust defence of 8 Apr, Royal Festival Hall, London

their part in our cultural fabric’ NYO UNLEASHED THE DAILY TELEGRAPH MASON BATES Mothership BERNSTEIN Symphonic Dances ‘a dazzling showpiece from West Side Story for virtuoso youth’ JOHN WILLIAMS Star Wars JAMES NEWTON HOWARD THE TIMES Suite from The Hunger Games

‘a five-star fiesta of KAWMÉ RYAN Conductor energy and talent’ SUMMER THE GUARDIAN 2 Aug, Snape Maltings Concert Hall 3 Aug, Symphony Hall, Birmingham Totally teenage orchestral brilliance. MUSSORGSKY Night on the Bare Mountain Come and hear it. GEORGE BENJAMIN Dance Figures RAVEL Piano Concerto For the Left Hand LIGETI Lotano DEBUSSY La Mer

SIR GEORGE BENJAMIN Conductor TAMARA STEFANOVICH Piano

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 17 18/12/2017 14:01 NATIONAL YOUTH ORCHESTRA OF GREAT BRITAIN 2018

VIOLIN 1 LOUISA AYERST VIOLIN 2 GABRIELLA BAVETTA, 15, London 13, London PATRICK BEVAN*†‡ SABRINA DAVIS*† Leader 18, Cambridge NEIL DIXON Principal 18, Hertfordshire MAISIE STEWART 16, York 15, Birmingham LENA SEGAL*† HARRY KNEESHAW*† Seat supported by Co-Leader 17, London CATHERINE ALSEY Co-Principal 17, Beverley Zarir & Shelialla Cama 15, Gillingham Seat supported anonymously YASMIN Seat supported by the LOTTIE SWAINSTON‡ STREVENS-CHEN 1948-67 Alumni Group SOPHIE ROGAN Creative Collective 15, 17, Berkhamsted 17, Liverpool Newbury TOM DE CSILLÉRY Seat supported in ZOE HODI 15, London memory of Aletta du Plessis ELLA FRASER* 17, Nairnshire String Leader 15, Glasgow SEBASTIAN BROOKS, ALEXANDER SEMPLE NATASHA HUMPHRIES, Creative Collective 18, 16, Ashtead MOMO UEDA Creative Collective 17, London 14, Edinburgh Beaconsfield MARY UNDERHILL EMILY TRUBSHAW 15, Derbyshire ELIZABETH WEBB ALEX RAINE 16, Leatherhead Seat supported anonymously 15, Sheffield 16, Durham Seat supported by Joyce NELLIE WHITTAM KOUROSH AHMADI, ELEANOR DAVIS Fretwell for Mary E Allan 14, Somerset Creative Collective 17, 15, Hertfordshire London SEREN NICKSON* KYNAN WALKER* SAMUEL KANE* String Leader 17, Bath String Leader 15, Birmingham FREDDIE FLINTOFF String Leader 18, Armagh Seat supported by Seat supported by David 16, London The Joyce Fletcher Dutton & Mave Turner Seat supported by ALICE DADSWELL- Charitable Trust Andrew Tusa O’GORMAN GABRIELE BRASAITE 17, London JEREMY WEINSTEIN 18, Surrey LISA ARCHONTIDES- 15, London TSALDARAKI ALISTAIR BURTON LILY HARWOOD 16, London, 16, Kendal FAYE ZHAO 16, London Seat supported anonymously 16, London Seat supported by Mrs Sarah Abrahams MENGLIN LI ROBIN DAY 14, Cardiff 16, London WENDI WANG 15, London

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 18 18/12/2017 14:01 VIOLA CELLO ANNA CRAWFORD ISABELLA 17, Longfield THORNEYCROFT WILLIAM EMERY GIULIA DA CRUZ*† 15, Tyne & Wear Principal 18, Felixstowe, Principal 18, London GEORGE WILKES Seat supported by Seat supported by Peter, Seat supported by The Paul 16, Warwickshire The Promenaders’ Judy & Alexandra Moorhouse Morgan Charitable Trust Musical Charities in DOUBLE BASS memory of Dorothy Walker ERIN CACACE*† LILI HOLLAND-FRICKE*† Co-Principal 17, Co-Principal 17, Macclesfield HANNAH DAISY NOTON Great Dunmow GODFREY CLARKE*† Creative Collective 14, Seat supported by CHRISTINA STUART† Principal 18, Halifax East Sussex Sean Overend 16, Cambridge Seat supported by JESS HOSKINS*† SOPHIE NEAL INIS OÍRR ASANO *† Doreen Moorhouse Co-Principal 16, London 15, Aberystwyth 17, London Seat supported anonymously THEO BENTLY CURTIN MATTEO WALLS†‡ GEORGIA RUSSELL 18, Totnes Creative Collective 17, London OBOE Creative Collective 18, Oxford Seat supported by the Marie-Louise von Motesiczky LEVENT TANRITANIR DANIYAL SACHEE*† ELENA ACCOGLI Charitable Trust in memory of 14, London Principal 17, London 17, London Edmund & Karl von Motesiczky Seat supported by ISABELLE NORWOOD Mr & Mrs Gershinson YNYR PRITCHARD SAMUEL VINCENT 16, Milton Keynes 15, Caernarfon 18, Hereford FERGUS MCCREADY† Seat supported by the SAMUEL HOPKINS* 17, Diptford SAM SCHEER Elmley Foundation String Leader 17, Poole 16, London Seat supported anonymously CHRISTOPHER THOMAS NETTLE VETTRAINO NADIA 16, Tonbridge STEPHEN CONWAY Creative Collective 17, SOOLE SANCHEZ* Seat supported by the 13, East Sussex Glasgow String Leader 16, London Martin Pepperell Scholarship Seat supported by Simon Carrington & Alastair Hume SOPHIE CATHERALL JOE LUCAS SAM WEINSTEIN* 15, Ipswich 18, London String Leader 17, London NICK BROUGHTON 17, Chester SASHA PULLER JAMES WARBRICK FELIX ROSENBOOM 16, Sevenoaks 17, Lincolnshire 15, Forest Row ALEXANDER HEATHER 16, Somerset CATRIONA LOCKHART RUBY BOWLER* EMILY HANOVER 18, London String Leader 18, Manchester 17, Beverley JAMES KILN Seat supported by 18, Amersham ANTONIA HOLLOWAY TOBY WARR Pat & Gus Moore 14, London 17, St Albans JAMES TROWBRIDGE Seat supported IONA RUSSELL 18, London by James Elms LUCA WADHAM‡ 15, Jersey 17, London FLUTE CLARINET DANIEL BRANDON* JOSHUA LAW String Leader 16, Epsom CHLOË TOM MYLES*† 15, Milton Keynes ELLEN JONES*†‡ Principal 16, Ballygowan JAMES CONWAY‡ Principal 17, Liverpool Seat supported by the HOLLY WOODS 17, East Sussex Martyn Ibbotson Fund 15, Cambridge MARIE SATO LUCY CASTON 17, London RENNIE SUTHERLAND† KILIAN MEISSNER Creative Collective 18, Seat supported by 17, Glasgow 15, Cambridge Somerset Dame Liz Forgan DBE Seat supported by ALEX USHER Julian & Caroline Nettel WILLIAM HARRIS FELIX BLAKE† Creative Collective 16, 17, Henley on Thames 17, Warrington Leigh-on-Sea EMILY FRASER 15, London HARRIET PATTERSON BETH STONE ROBBIE MARRS 17, Stirling 17, Melton Mowbray 18, Belfast ADAM POSSENER 16, Norwich ELOISE JAMES EDMISTON RAMCHANDANI 16, Oxford 14, London Seat supported JASPER PERRY by Dr Roy Schofield 17, Oxford

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 19 18/12/2017 14:01 IONA SALTER JOSHUA BASS TROMBONE ORGAN/CELESTE 14, London OSBORN-PATEL Seat supported by J.Powell 15, Studley JOSH CARGILL*† JOSEPH BEADLE 18, Belfast Principal 16, London BASSOON TRUMPET JAMES MCLEAN TAMMAS SLATER JULIA FLINT*† JAMES NASH† 16, Slough 16, West Yorkshire Joint Principal 17, London Principal 17, Lancashire Seat supported by Seat supported by TUBA COMPOSERS Michael Waldman Dr Roy Schofield JAMES TAVARES*† JOSHUA MOCK† SHONA CAMERON RUBY BARBER*† Principal 16, Glasgow Principal 17, Cheshire 16, Northampton 18, Thirsk Seat supported by LUCAS BOYLAN TOBY ANDERSON† CAMPBELL LANG Peter Hibbert 16, Warrington 17, Leatherhead Joint Principal 17, Glasgow CLARA FALKOWSKA CALLUM DAVIS LIZZY GÜR‡ EMMA WILLIAMS 17, London Creative Collective 15, 15, Chorley 16, Chippenham Seat supported by Tipton Peter & Anne Farrar Seat supported in memory MORGAN OVERTON FLORENCE PLANE of the late Derek Bourgeois 17, Oakham 17, Cardiff TOM WATTS 17, Watford PERCUSSION LAVENDER LYDIA BENNETT RODRIGUEZ Creative Collective 16, LUCAS HOULDCROFT MATTHEW BRETT*† 17, Fleet Dorset 18, Birmingham Principal 16, Haslington Seat supported by ALEXIA SLOANE WILLIAM KIDNER Ursula Jones in memory MEADOW BROOKS 17, Cambridge 16, Wiltshire of Philip Jones 17, Dartington ISABEL WOOD HORN ZOË KUNDU SIMONE HERBERT- 17, Bingley 17, London MOORES ANNEMARIE 16, Manchester FEDERLE*† TOM THORNTON Seat supported by John NYO’s Composers Section Principal 15, Cambridge 17, Carshalton & Diana de la Cour in is supported by: Seat supported by Mark Ford Seat supported by the memory of Betty Ashcroft & Stephen Metcalfe Stanley Picker Trust The Steel Charitable Trust DAN KIMBERLEY PRS for Music Foundation BRENDAN CHARLOTTE WARD Creative Collective 16, The RVW Trust CONNELLAN Creative Collective 15, London High Wycombe The Boltini Trust 14, Haywards Heath Seat supported by David Richardson & Janet Hilton ARCHIE KNEESHAW‡ * Leverhulme Arts Scholar JOSEPH LONGSTAFF 15, Beverley † Wolfson Scholar 16, Bushey TROMBONE ‡ Blavatnik Scholar JOHAN SMITH OLIVIA GANDEE† HANNAH STELL*† 18, Teddington 17, Manchester Principal 18, Huddersfield Can you sponsor a seat? Seat supported by DANIEL WATT Can you enable an NYO Michael & Maria Fischer JOSH BARBER 18, Bath Musician to take the stage? 17, Halifax nyo.org.uk/individuals PATRICK RENEHAN HARP 17, Manchester LAWRENCE SCHOFIELD CHERRY GE*† JOHAN STONE 16, Horsham Principal 16, London 17, Melton Mowbray Seat supported by the Blair family BETHANY CASWELL‡ SOL ALBERMAN 15, Ashbourne 16, London LUCY PATTERSON Creative Collective 15, ELEANOR MEDCALF ALEXANDER HARRIS‡ St Albans Creative Collective 18, Creative Collective 16, Reigate Swindon MEGGIE MURPHY Seat supported by the 16, Cardiff Misses Barrie Charitable BRANWEN Trust THISTLEWOOD RHYDIAN TIDDY 18, Cardiff 15, Carmarthenshire SIOBHAN MATHIAK Seat supported by the 15, Brussels Blair family 20

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Royal Patron Development Director DEVELOPMENT Trumpet NICOLETTE SHAW JOHN MILLER HRH THE DUCHESS Development Managers OF CORNWALL OPERATIONS SIMON FRAIS Trombone VEENA JOSEPH-MCBRIDE KATY JONES Founder Finance Manager ARIANA MUSIOL THE LATE DAME KEREN MODHA Tuba RUTH RAILTON DBE Development Advisors PATRICK HARRILD Finance Officer SCOTT PRENN LLP Ambassadors FIONA ROYDEN Percussion KEN BURNETT ALISON BALSOM OBE TOBY KEARNEY Producer, NYO CHRIS BEARDSHAW MARKETING IAN WRIGHT ROSI CALLERY BENJAMIN R BROADBENT Head of Marketing Harp KATIE DERHAM Producer, Operations and Communications ELEANOR HUDSON DANIELLE DE NIESE ROSS PEARSON PETER DI-TORO Kayboard SIR MARK ELDER CH, CBE NYO Inspire and Marketing Manager LIZ BURLEY JOHN WILSON Partnerships Manager SOPHIE GOODWIN JOHN KEYS BOARD OF DIRECTORS NICK THORNE Public Relations Composition NYO Chair Producer, NYO Inspire CLAIRE WILLIS LARRY GROVES DAME LIZ FORGAN DBE SUMITA MENON ELEVENTENTHS Associate Conductor NYO Deputy Chair Stage Manager MUSICAL TEAM JONATHON HEYWARD PETER MOORHOUSE SARAH WOOLHOUSE Violin 1 Répétiteur DAVID BUTCHER Assistant Stage Managers LYN FLETCHER NICHOLAS DONAGH COLLINS BARNABY ADAMS ANSDELL-EVANS LYN FLETCHER TOM BUCKBY Violin 2 ANDREW GAMBRELL ANDY PITT CLARE DUCKWORTH Presentation Coach TOM REDMOND TATJANA MAY Driver & Logistics Viola LUKE MAYHEW TREVOR HILL, RICHARD WATERS ARTIST IN RESIDENCE CHI-CHI NWANOKU OBE TC TRUCKING MAZDAK SANII Cello CHRIS RIDDELL Librarian NICK TRYGSTAD SUPPORT TEAM DEVELOPMENT BOARD HELEN HARRIS Bass Head of Support PETER MOORHOUSE TECHNICAL TEAM GRAHAM MITCHELL WILDER FULFORD ROXANNE HORTON Assistant Director Flute ANDREW GILCHRIST Deputy Head of Support MARK BURNS SARAH NEWBOLD MICHAEL WALDMAN CHRIS LYDON Lighting Director Oboe MANAGEMENT TEAM Support Team Members JAKE WILTSHIRE MELINDA MAXWELL Chief Executive JADE AITKEN & Artistic Director Lighting Assistant Clarinet MAYA BENARAB SARAH ALEXANDER OBE ROBERT PRICE TIM LINES CECILIA BIGNALL SVENJA BUHL Opera Stage Manager Bassoon Senior Producer STEPHEN CRANER JOSS BUNDY SARAH BURNETT ELLIE GELLER STEPHANE CRAYTON Executive Director Horn CHARLOTTE COX AMY MOLE BETH RANDELL GEORGE ENGLISH TIM KEASLEY

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 22 18/12/2017 14:01 LIZZIE LEONARD RALPH WHITTALL Programme Notes JOSEPH LYNCH GRACE WILLIAMS JAMES MURPHY PETER NODEN Teacher Design JAMIE PIMENTA JEFF EVASON THEM DESIGN LTD. YUSRA SUPDAROWA THEM.CO.UK JAMIE WHITE TRINITY SCHOOL NYO MATT WILKINSON YOUNG PROMOTERS Photography JASON ALDEN RALPH WYLD LIAM CAROLAN BENJAMIN EALOVEGA NURSES BELLA CORONATO BOGDAN FRYMORGEN ANNIE CROFT SANDRA BARNES MONIKA RITTERSHAUS LOUIS CROFT LAURA CHANDLER SUSANA SANROMÁN JACOB FOWLER Osteopath JADA JOHNSON ANDREW PATTERSON JENEBA KANNEH-MASON KONYA KANNEH-MASON Sighted Guide EVE KELLY CAROLINE HAINES HANNAH MASSEY NATIONAL YOUTH JAMES MORRIS THEATRE ACTORS KASSIE MANDERSON CHARLOTTE BURKE DIMITRA SIAKAVARA ZARA RAMTOHUL-AKBUR CHERRY TRAN RICCARDO ROMA CAITY VESEY ELIZABETH SLATER MAISIE WALKER JACK WALSH HALLÉ YOUTH JAKUB WELKNOWSKI ORCHESTRA NYO YOUNG PROMOTERS Teacher VICKY MANDERSON EMILY BURTON BRIONI CROWE SKINNERS’ ACADEMY LATCHEN NYO YOUNG PROMOTERS KINGHORN-PERRY NISA AKDAG MATTHEW O’REILLY JOYCE AMISI TUXFORD ACADEMY NYO RACHEL ASARI YOUNG PROMOTERS CHIN HO CHUNG CHIPAKA HENRY HANNAH BARNETT BERFIN KOZ SAM BARNETT TY LEVINE OLIVER BROXTON GABY MARIN LONDONO EMILY BRYAN AARON MARSON MEDLEY WESLEY CLARK BOO NERO ETHAN COOPER ZAFAR SHOHID ALICIA CURT BRIANA WILLIAMS JACK DAVEY YING ZHU ZHANG HARVEY ELLEY BENJAMIN GALBRAITH Teacher HANNAH ROE RACHAEL ADEDIRAN ELLIOTT STOCKLEY 23

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 23 18/12/2017 14:01 CONDUCTOR SIR MARK ELDER

Sir Mark Elder has been Music Director of the Hallé since September 2000. He was previously Music Director of English National Opera (1979—1993) and Principal Guest Conductor of the BBC Symphony Orchestra and City of Birmingham Symphony Orchestra.

He has worked with many of the world’s leading symphony orchestras, is a Principal Artist of the Orchestra of the Age of Enlightenment and has appeared annually at the Proms for many years, including — in 1987 and 2006 — in the internationally

televised Last Night. Photo: Benjamin Ealovega

He has enjoyed a long association with “I was an NYO Musician and have worked the Royal Opera House and appears in with the orchestra many times as a conductor. many other prominent theatres including I am extremely proud of this long association the Metropolitan Opera, Opéra de Paris and cannot wait to lead it once again in a and Glyndebourne Festival Opera. He was momentous concert that marks not only the first English conductor to conduct a 70 years of bringing teenage brilliance new production at the Bayreuth Festival. to UK audiences, but an important new In April 2011, he took up the position of chapter in NYO’s illustrious history – Artistic Director of Opera Rara, and he the performance of its first complete has made many award-winning recordings opera, Bartók’s Duke Bluebeard’s Castle.” in a wide repertoire with the Hallé. SIR MARK ELDER Sir Mark Elder was appointed a Companion of Honour in 2017, knighted in 2008 and awarded the CBE in 1989. In May 2006 he was named Conductor of the Year by the Royal Philharmonic Society and he was awarded Honorary Membership of the Royal Philharmonic Society in 2011. 24

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 24 18/12/2017 14:01 DIRECTOR DAISY EVANS

Daisy Evans is a theatre and opera director working internationally. Her most recent work includes VIXEN for ENO/Silent Opera at The Vaults in London and the Beijing Music Festival; King Arthur for the Academy of Ancient Music at the Barbican; and Cosi Fan Tutte at Bury Court Opera.

As a Librettist, she has written English versions of The Cunning Little Vixen (VIXEN), Don Giovanni (Giovanni), L'Orfeo and La Bohème.

Her theatre credits include Orpheus and Eurydice and Our Country's Good with the King's Players; and Bacchae and The Tempest for Waistcoat Theatre.

Daisy is the Artistic Director of Silent Opera and is supported by the English National Opera. She was nominated for Best Young Director at the International Opera Awards 2016 and is the recipient of the Sky Arts Futures Fund and a winner of Best Opera Production at the OffWestEnd Awards.

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 25 18/12/2017 14:01 BASS-BARITONE ROBERT HAYWARD

Robert Hayward made his professional opera debut singing the title role in Don Giovanni for Glyndebourne Touring Opera in 1986.

He has performed at the Royal Opera House, English National Opera, Bayerische Staatsoper Munich, Frankfurt Opera, Stuttgart Opera, Welsh National Opera, Opera North, Scottish Opera and Glyndebourne Festival Opera in a wide repertoire including Wotan/The Ring, Amfortas/ Parsifal, Jokanaan/Salome, the title roles in Eugene Onegin, Don Giovanni, Mazeppa, Der fliegende Holländer, Falstaff and Macbeth; Iago/Otello, Scarpia/Tosca, Marcello/La bohème, Escamillo/Carmen, Tomsky/ The Queen of Spades, Nick Shadow/The Rake’s Progress, Mandryka/ Arabella, Golaud/Pelleas et Melisande, Kurwenal/Tristan, Prince Ivan Khovansky/ Khovanshchina, Simone in Zemlinsky’s Florentine Tragedy and Telramund/Lohengrin. Photo: Bogdan Frymorgen Recent and forthcoming operatic engagements include Fidelio, Moses Mazeppa and Moses / Moses und Aron for und Aaron, Khovanschina for WNO, the Komische Oper Berlin and Bluebeard’s The Makropulous Case, Tosca, Peter Grimes, Castle for Scottish Opera and Los Angeles Die Walküre and Andréa Chenier for Opera Opera and in concert with the National North, Lady Macbeth for ENO, Salome with Youth Orchestra of Great Britain. Northern Ireland Opera, the title role in Bluebeard’s Castle and Telramund for Frankfurt Opera, Damnation of Faust for Staatstheater Stuttgart, the title role in

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 26 18/12/2017 14:01 MEZZO-SOPRANO CLAUDIA MAHNKE

Claudia Mahnke has become one of the most important mezzo-sopranos due to her Brangäne and Fricka at Bayreuth Festival, Judith in Bartok‘s Bluebeard’s Castle at Staatsoper Hamburg and Didon in Les Troyens at Oper Frankfurt in the recent seasons.

She regularly works with conductors such as Kirill Petrenko, Ken Nagano, Marek Janowski, Constantinos Carydis, Bertrand de Billy, Bernd Weigle and Christian Thielemann. Her engagements in 2017/18 include Kundry in a new production of Parsifal at Staatsoper Hamburg, Judith in Bluebeard’s Castle at Oper Frankfurt, where she will appear as well as Selika in Meyerbeer‘s L‘ Africaine and Fricka in Rheingold. At Sächsische Staatsoper Dresden she will sing Iokaste in Strawinsky‘s Oedipus Rex. ConcertIn the season 2016/17 she performed at the Bavarian State Opera in Munich in Die Meistersinger von Nürnberg and at the Staatsoper Hamburg in Bluebeard’s Castle, which she will also perform with the Baltimore Symphony Orchestra. Photo: Monika Rittershaus

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 27 18/12/2017 14:01 NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 28 18/12/2017 14:01 TOTES AMAZEBAGS! Show your NYO pride with our stylish tote bag. Get yours from the foyer tonight!

£10

National Conservatoire of Wales Conservatoire Cenedlaethol Cymru

Nurturing tomorrow’s performers

The Royal Welsh College of Music & Drama is home to a thriving Junior Conservatoire, dedicated to providing advanced training for talented and committed musicians aged 8-18 years. We believe that children and young people should have an opportunity to develop their musical potential within a friendly and supportive environment. To find out more visit our website, or just pick up the phone and 029 2039 1365 give us a call. www.rwcmd.ac.uk/junior

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 29 18/12/2017 14:01 NYO PATRONS

Because of you… we have a National Youth Orchestra of Great Britain.

Whether you are an alum, a parent, or a devoted fan of music, by giving your support to NYO you can help to shape the future of orchestral music by:

• Joining NYO Patron’s Scheme • Or Taking a Seat in NYO • Or Making a one-off donation

And get closer to the orchestral energy and passion of NYO! Please contact Ariana Musiol on [email protected].

DONATE ONLINE

nyo.org.uk/please-donate

Together we’re an orchestra.

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 31 18/12/2017 14:01 YOU ARE THE MUSIC… WHILE THE MUSIC LASTS T.S ELIOT Gillian was born in Leicester in 1933 and would go on to become a founding member of NYO. Her early interests included painting, photography, and swimming; however it was music that would form the basis for her life. Beginning with the piano she was prompted to take up the violin and at 13 she joined the Leicester Junior Orchestra . NYO followed and was the defining musical and personal experience of her teenage years, plotting the course for the rest of her life. Through NYO, Gillian established her love of playing and singing, broadened her horizons with travelling around the UK and abroad, ‘What I remember best is the poised and was signposted to making her career tension of the rehearsals, the more-than- in music and the theatre. adult approach, with a willing surrender and dedication perhaps never again Gillian died in 2016, leaving a legacy gift approached in our later, professional to NYO in the hope of giving the experience lives…. Out of this grew the magic; the she had as a young musician at NYO to concert was the necessary release future generations of young people around and fulfilment.’ the UK. GILLIAN ASHBY, NYO VIOLIN 2, 1949—51 As an early member, Gillian had seen our founder, Dame Ruth Railton struggle with funding the orchestra and wanted to ensure that NYO has the means to continue to develop the passion and potential of young musicians for years to come. www.nyo.org.uk/legacies 32

NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 32 18/12/2017 14:01 THANK YOU

INDIVIDUAL Annabel & Alex Noton Ursula Jones SUPPORTERS David & Debbie Marrs Pat & Gus Moore Kate Bingham Adrian Possener Doreen Moorhouse & Jesse Norman & Jacqui Hanlon Peter, Judy & Jan & Leni du Plessis Fiona & David Puller Alexandra Moorhouse Nicholas & Naresh Ramchandani Julian & Judith Goodison & Sarah Snoxall Caroline Nettel Steven Larcombe Robert Smith Sean Overend & Sonya Leydecker & Sian Hardy J. Powell Luke Mayhew Bob Stewart The Promenaders’ Peter, Judy & & Michelle Sanders Musical Charities Alexandra Moorhouse Andrew Swainston David Richardson Mr & Mrs Paul Morgan & Libbie Mead & Janet Hilton John & Jo Padfield Mark Vettraino Dr R Schofield & Helen Hopkinson Chris Rokos Andrew Tusa Hua Zhao & Liz Chen Jasminder Michael Waldman & Amrit Singh PRINCIPAL SEAT 1948—1967 Bruno Wang Alumni Group SUPPORTERS PARENT DONORS Michael & We also acknowledge Alison & John Maria Fischer a number of seats Anderson Mr & Mrs Gershinson which are supported Joyce & by anonymous donors. Alastair Beadle SEAT Katy & James Bennett SUPPORTERS NYO would like to Mark Burton Mrs Sarah Abrahams remember the late & Allyson Fiddler The Blair Family Keith Lovet Watson Jane & Ian Crawford Mr & Mrs Zarir J Cama who was a great friend Lyndon da Cruz John & Diana de la to NYO over many & Maria Cristina Cour in memory of years. Keith supported White-da Cruz Betty Ashcroft the orchestra in Jonathan Flint David Dutton memory of his late & Daniella Gluck & Mave Turner father and brother. His father, Victor Albert Nicki & Paul Flintoff Simon Carrington Watson ARCM, and Anthony Harwood & Alastair Hume brother, Roy Hewetson & Tanith Carey- James Elms Watson ARCM, were Harwood Peter & Anne Farrar both foundation tutors Edward Longstaff Mark Ford & on the double bass & Lana Wood Stephen Metcalfe at NYO. Elise Docherty & Dame Liz Forgan Robert Mathiak Mrs J Fretwell Sheena & Geoff Peter Hibbert McCready The Martyn Tim & Isla Norwood Ibbotson Fund 33

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 34 18/12/2017 14:02 TRUSTS AND FOUNDATIONS

NYO would like to thank the following trusts and foundations for their support, without which our work would not be possible.

Angus Allnatt Charitable Foundation / Baron Davenport’s Charity / Chatwin Trust / CHK Charities Limited / Colwinston Charitable Trust / David Ross Foundation/ Dolly Knowles Charitable Trust / Emerton-Christie Charity / Ernest Cook Trust / Esmee Fairbairn Foundation / Fidelity Foundation / Foyle Foundation / Gamlen Charitable Trust / Ganzoni Charitable Trust / Garfield Weston Foundation / Garrick Charitable Trust / GJW Turner Trust / Lord and Lady Lurgan Trust / Manson Family Charitable Trust / Marie-Louise von Motesiczky Charitable Trust / Misses Barrie Charitable Trust / Mr & Mrs J A Pye’s Charitable Settlement / PRS for Music Foundation / Rowley Trust / Schroder Charity Trust / Sir George Martin Trust / Sir John Beckwith Charitable Trust / Split Infinitive Trust / The 29th May 1961 Charitable Trust / The Alan Woodfield Charitable Trust / The AM Fenton Trust / The Andor Charitable Trust / The Barbara Whatmore Charitable Trust / The Bernarr Rainbow Trust / The Blavatnik Family Foundation / The Bliss Trust / The Boltini Trust / The Camelia Trust / The Catherine Cookson Charitable Trust / The Cecil King Memorial Foundation / The Derek Hill Foundation / The D’Oyly Carte Charitable Trust / The Dumbreck Charity / The du Plessis Family Foundation / The Elmley Foundation / The Hadrian Trust / The Headley Trust / The Houghton Dunn Charitable Trust (Mrs Waterhouse Charitable Trust) / The HR Taylor Charitable Trust / The John Feeney Charitable Trust / The John R. Murray Charitable Trust / The Joyce Fletcher Charitable Trust / The Kirby Laing Foundation / The Leverhulme Trust / The Liz and Terry Bramall Foundation / The Lord Belstead Charitable Settlement / The Loveday Charitable Trust / The Mageni Trust / The Musicians’ Company / The Ofenheim Charitable Trust / The Overfield Trust / The Percy Hedley 1990 Charitable Trust / The Roger and Sarah Bancroft Clark Charitable Trust / The RVW Trust / The Saintbury Trust / The Samuel Gardner Memorial Trust / The Sir James Knott Trust / The Stanley Picker Trust / The Steel Charitable Trust / The Vernon Ellis Foundation / The Wolfson Foundation

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 35 18/12/2017 14:02 CORPORATE SUPPORTERS:

MEDIA PARTNER:

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NYO083_WINTER_2017_PROGRAMME_FULL_AW.indd 36 18/12/2017 14:02