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Home , Alexander Goehr, Arthur Benjamin, BBC Symphony Orchestra, Jo Vincent, London Symphony Chorus, Spring Symphony

Sunday 16 September 2018

LSO SEASON CONCERT NEW MUSIC BRITAIN

Harrison Birtwistle Donum Simoni MMXVIII * Broadcast live to mainland Europe, Canada (world premiere) and Asia on Mezzo Holst Egdon Heath Mark-Anthony Turnage Dispelling the Fears † Interval Recorded for broadcast on 17 September by BBC Radio 3 Britten Spring

Sir conductor NEW Philip Cobb trumpet † From 6.30pm Gábor Tarkövi trumpet † Free Pre-Concert Performance, Foyers Elizabeth Watts soprano Alice Coote mezzo-soprano Britten Fanfare for St Edmundsbury Allan Clayton tenor Symphony Chorus Brass Musicians from the Guildhall School chorus director MUSIC Tiffin Boys’ Tiffin Children’s Chorus The Tiffin Girls’ School Choir James Day Tiffin director

* Commissioned for Sir Simon Rattle by the BRITAIN and the LSO Concert ends approx 9.10pm

26 Donum Simoni MMXVIII (world premiere) 2018 / note & profile by Paul Griffiths

imon Rattle’s engagement with the Ostinato – outburst – descent: the pattern music of Harrison Birtwistle goes is replayed in different ways, until the music back at least as far as 1976, when he briefly discovers calm, with the tuba again a conducted a Birtwistle piece, Meridian, at his key player. Force then comes on again – but first appearance at the BBC Proms. Other great to prevail? • moments have included a performance of The Triumph of Time with the City of Birmingham Commissioned for Sir Simon Rattle by Symphony at the Salzburg Festival the Barbican Centre and LSO a decade or so later. And then, just a year ago, here at the Barbican, Rattle made sure Birtwistle was present again – a solid- shining account of the Concerto with Christian Tetzlaff as soloist – for his defining first concert as the LSO’s Music Director. Now, from the composer, comes a gift, hrough the decades of post- including Tragoedia (1965) for opposing wind ‘Simon’s Gift’, in the shape of a fanfare for since 1970, Birtwistle’s and string chamber groups on the fulcrum orchestral brass, woodwind and percussion, music has remained resolutely of a harp. The heat went underground, only three minutes long but huge. modern in its dissonance, its formal subsumed in relative quiet and generative complexity and freedom, its continuing slowness, as he worked towards his Fanfares are supposed to be proclamatory, innovation and its positively mechanistic The Mask of Orpheus (1973–86). While that which this one in its own way is, even if it also HARRISON BIRTWISTLE IN 2019 use of pulse and repetition. At the same was in progress he also wrote two big challenges the genre by its weight, by its time it evokes a prehistory of monuments symphonic pieces (The Triumph of Time ending, and also by how it begins, deep down Wednesday 1 May 7.30–9.10pm and ritual acts. and Earth Dances) and much else, living with trombones and tuba. The four trumpets Barbican Hall partly in the Hebrides, partly in France. soon come in, though, properly rising and Born in Accrington in 1934, Birtwistle was In 1996, the year he completed a formidable dazzling above the heavyweights and the Harrison Birtwistle Shadow of Night a slow starter. Though he had played the cycle of Celan songs (Pulse Shadows), horns. A touch of percussion, and of broken Interval clarinet and composed from boyhood, and he moved to rural Wiltshire. Subsequent ostinato, introduces a second phase that, Harmonielehre though he found lively colleagues (notably works, characteristically combining intensity fully scored, comes to a climax and quickly and Alexander Goehr) with melancholy, have included encounters breaks down, with a Birtwistlian gesture Sir Simon Rattle conductor at the Royal College of Music, with classical genres. • that will recur. There follows a glimpse of London Symphony Orchestra he was into his thirties before he produced quieter recyclings with a tuba solo far below. his first works of characteristic trenchancy,

Programme Notes 27 Gustav Holst Egdon Heath – A homage to Thomas Hardy Op 47 1927 / note by Paul Griffiths

— The faster music stalls as the work’s orn in Cheltenham in 1874, Gustav ‘A place perfectly accordant with man’s nature – neither ghastly, hateful, opening is remembered, after which a kind Holst was the first child of the of march in 5/4 time is installed by the brass pianist and organist Adolph von nor ugly; neither common-place, unmeaning, nor tame; but, like man, section, bluntly and nobly straightforward, Holst. He attended Cheltenham Grammar slighted and enduring; and withal singularly colossal and mysterious the something like a folk song. School from 1887 to 1891, crafting short in its swarthy monotony!’ Dissolving beneath a counter-subject compositions and learning the rudiments from then clarinet, this theme is of and . In 1892 he Thomas Hardy’s description of Egdon Heath in The Return of the Native reasserted by low strings and carries the was appointed organist and choirmaster — piece to its central splendour, only for all of the parish church in the village of Wyck that to dissolve again in an oboe solo. Rissington. The following year he enrolled at gdon Heath cannot be found on any Swarthy, in the sense of dark, and the , where he studied map, only in the pages of Thomas mysterious is how Holst’s symphonic At this point the very opening gesture, down composition with Charles Villiers Stanford. Hardy’s novel The Return of the impression of 1927 begins, with muted a step and back again, is starting to reappear Native, which begins by introducing this double basses plumbing a line that resists and carry the music back to its initial In 1901 he married Isobel Henderson, principal location at nightfall, when: ‘The committing itself to any or metre atmosphere of eeriness and indefinition. supporting their early years together as sombre stretch of rounds and hollows seemed (the time signature is 7/4, without defined After a curiously medieval phrase, we a trombonist and teacher. Holst became to rise and meet the evening gloom in pure accents). Clear sound from flutes are fully there, eventually to meet again Director of Music at St Paul’s Girls’ School in sympathy, the heath exhaling darkness as and bassoons, and a whole opening section an unsettling idea from the Stravinskian Hammersmith in 1905 and two years later rapidly as the heavens precipitated it.’ extends from the ideas introduced so far. section, now at the slow tempo that has assumed responsibility for music-making at been thoroughly re-established, with its Morley College, devoting his spare time to This is a place heavy with history. It is Lear’s As the tempo increases a little, the cellos mood of darkness and uncertainty. • composition. His reputation as a composer heath, Hardy suggests; it could also, though introduce a new, more affirmative theme, was established thanks to the success of in a different part of the country, be the and we may begin to recognise the composer , written during World War I, moorland of Wuthering Heights. To quote a of The Planets. Another speeding up brings and of works premiered shortly after the later passage from the Hardy book, one that along a passage reminding us, too, that war such as The Hymn of Jesus. Passions for Holst asked to be included in any programme this composer listened profitably to astrology, Hindu literature and philosophy, note, it is ‘A place perfectly accordant with Stravinsky’s The Firebird – that he paints English folk music, Thomas Hardy and man’s nature – neither ghastly, hateful, nor his English scene partly with colours that amateur music-making influenced his work, ugly; neither common-place, unmeaning, had been imported to London by Henry which was curtailed in the final years of his nor tame; but, like man, slighted and Wood (Debussy, Schoenberg) and the life by ill health. He died in London in 1934. enduring; and withal singularly colossal Ballets Russes. and mysterious in its swarthy monotony!’ Composer Profile by Andrew Stewart

28 Programme Notes 16 September 2018 Mark-Anthony Turnage in profile b 1960

and Remembering, which Sir Simon Rattle MARK-ANTHONY TURNAGE conducted in London and with the ON LSO LIVE Philharmonic Orchestra in 2017.

A for Marc-André Hamelin and a drumkit concerto featuring jazz drummer Peter Erskine were premiered in 2013. Recent chamber works have included Contusion written for the Belcea Quartet and Shroud for the Emerson Quartet. Other recent scores include Frieze conducted by Vasily Petrenko at the BBC Proms, Passchendaele marking the centenary of the outbreak of World War I, composer of international stature, His second full-length opera, The Silver and the double Shadow Mark-Anthony Turnage is among Tassie, was premiered by English National Walker written for soloists Vadim Repin the most significant creative Opera in 2000, winning both the South Bank and Daniel Hope. Remembering (Download) figures to have emerged in British music of Show and the Olivier Awards for Opera. £4.99 the last three decades. His first opera, Greek, His third opera, Anna Nicole, played to Much of Turnage’s music is recorded on established Turnage’s reputation in 1988 as sold-out houses at Covent Garden in 2011 Decca, Warner Classics, Chandos, LSO The world premiere recording of an artist who dared to forge his own path and has also been staged in Dortmund and Live and the LPO label, while Scorched, Remembering, a powerful and emotional between modernism and tradition by means New York. Turnage has written ballet scores on Deutsche Grammophon, was nominated piece exploring life and death, written of a unique blend of jazz and classical styles. for both Sadler’s Wells (Undance) and the for a Grammy. Turnage is Research Fellow in in memory of Evan Scofield, who died Royal Ballet (Trespass and Strapless). Composition at the Royal College of Music, in 2013 aged 26. Three Screaming Popes, Kai, Momentum and and is published by Boosey & Hawkes. Drowned Out were created during his time Turnage has been resident composer He was awarded a CBE in the 2015 Queen’s Sir Simon Rattle conductor as Composer in Association in Birmingham with the Chicago Symphony Orchestra, Birthday honours. • with Simon Rattle between 1989 and 1993, BBC Symphony Orchestra and London lsolive.co.uk followed by Blood on the Floor, his unique Philharmonic Orchestra. Collaborations Available on iTunes, Apple Music, score written for the distinguished jazz with the London Symphony Orchestra Spotify and Amazon musicians John Scofield and Peter Erskine, have included two new works: Speranza and Martin Robertson. premiered under in 2013,

Composer Profile 29 Mark-Anthony Turnage Dispelling the Fears 1994–95 / note by Guy Dammann

Philip Cobb trumpet pageantry, but all three (so far) of Turnage’s disappearing behind a fuller exploration bars apart, so that the counterpoint takes Gábor Tarkövi trumpet works – Dispelling the Fears (1995), From of the semitonal clashes in which the two on a kind of spatial aspect, the two soloists the Wreckage (2004) and Håkan (2015) – soloists can be heard writhing around, pursuing their dialogue over a large distance. ark-Anthony Turnage is often use the trumpet’s extraordinary timbral searching for some kind of opening. Another moment of relative calm emerges referred to as a distinctively urban and expressive range in order to chart a few minutes later after the two trumpet musician. The label sits well. a course through feelings of profound The piece’s main material elements are lines seem suddenly to fall into step with As a composer of music in which jazz, uncertainty, bordering on despair. In each both drawn from this opening: the semitone each other, issuing in an almost - blues and rock mix on equal terms with of the concertos the music seems almost clashes, which are exploited by Turnage less like melody. Needless to say, however, the Schoenbergian expressionism, advanced to lose track of itself, as if not knowing for their harmonic dissonance than for the phrase never reaches its end, but stumbles post-tonal harmonies and Stravinskian how or where it might possibly carry on, way they split and diffuse the timbre; and a and dissipates, the trumpets returning to rhythmic overload, there’s a sense, which before somehow hitting on a way out. rocking motif, which is used throughout both their endless writhing. Before the end, one gets in any great city, of a great cultural to menace and also to comfort, and which however, the fragments of peace do coalesce, melting pot. Above all, perhaps, there’s The way out in the first of these pieces, keeps the music moving while going nowhere. briefly, in a short coda, before a final, openly a feeling that anything goes – anything, Dispelling the Fears, is perhaps hardest of The trumpets skirt around these basic menacing chord reminds one that the that is, as long as it swings. all to identify. Inspired by an expressionist ideas, dovetailing each other and tentatively dispelled fears will be back before long. painting of the same name, by the expanding their range. The sense of process Easy to overlook, in this connection, is that Australian artist Heather Betts, the piece is thus continuous, but somehow each Dispelling the Fears was well received at urban spaces also cast shadows. However is composed for full orchestra with two period of exploration is always beaten back. its first performance at the Corn full of life, colour and possibility a street solo trumpets who shadow each other Exchange in 1995, with the Philharmonia may seem, the darkness is never far away. tentatively but inexorably throughout There are, though, moments of calm and Orchestra conducted by Daniel Harding and Turnage’s music, certainly, is consistent in the work’s 20-minute duration. A strong relative stability. The first comes, after the solo parts taken by Håkan Hardenberger its exploration of kinds of radical doubt, the sense of foreboding is present from the around six minutes, when the trumpets and John Wallace. The same forces also feeling we get when, often inexplicably, all opening, where a quiet, menacing chord – have succeeded in infecting the rest of the gathered for the BBC Proms premiere in 1997, momentum grinds to a halt, and our sense spread across lower strings, piano, muted orchestra with their exploratory motifs, resulting in wide critical success. The work of self gets drowned out by everything being brass and cor anglais – is built from two trills, turns and little flourishes which retains its place in the repertoire today and opened up to question. superimposed tritones, each a semitone break out into the texture at large. The tide is still regularly performed worldwide. • apart. The combination of acute dissonance eventually turns, the lower strings resume A particularly interesting thread through with the misty timbre has a strikingly primal their slow rocking and the first solo trumpet Interval – 20 minutes Turnage’s music, in this respect, are the feel, reinforced by a bass drum and murky puts on a Harmon mute, resulting in the There are bars on all levels of the works for orchestra and solo trumpet(s) articulations from the percussion. But the thin and distant timbre often associated in concert hall. Ice cream can be bought composed so far. Historically we associate menace never quite manifests itself fully. jazz with the ‘midnight’ sound. The second at the stands on Stalls and Circle level. trumpet concertos with brightness and Instead it retreats and returns, eventually trumpet, unmuted, follows the line several

30 Programme Notes 16 September 2018 Philip Cobb trumpet Gábor Tarkövi trumpet

As a student at the Guildhall School, Philip Gábor started his career at the Wurttemberg studied with Paul Beniston and . Philharmonic Orchestra as Co-Principal In 2006 he took part in the Maurice André Trumpet, then moved to the Berlin Symphonie International Trumpet Competition and was Orchestra (today Konzerthausorchester awarded one of the major prizes as the Most Berlin) as Principal Trumpet, and in 1999 to Promising Performer. While studying, Philip the Bayern Radio Symphony Orchestra as played in the Salvation Army’s International Principal Trumpet. Since 2004, he has been Staff Band and also released his debut solo Principal Trumpet for the . CD, Life Abundant, in 2007. The following year he received the Award at Besides his orchestral work, Gábor Tarkövi the London Symphony Orchestra’s Brass frequently plays in Pro Academy, and also played with the European Brass, the Austrian Brass Connection, the Union Youth Orchestra as Principal Trumpet. Wien-Berlin Brass Quintet and in the Berlin Philharmonic Brass Trio, and is a renowned Prior to leaving the Guildhall School, Philip soloist worldwide. hilip Cobb was appointed was already working with leading ábor Tarkövi was born in Esztergom Principal Trumpet with the London in London, and by the time he had completed in 1969. The descendant of a He has an exclusive contract with the Swiss Symphony Orchestra in July 2009, his music degree he had secured his current family of musicians, he received Tudor Classics label, recording four CDs while he was only 21 years of age. A fourth post in the London Symphony Orchestra. his first trumpet lesson from his father, since 2008: Italian Trumpet Concertos with generation Salvationist, he comes from Despite his busy schedule with the Orchestra, István Tarkövi, at the age of nine. The local Mojca Erdmann, Classical Trumpet Concertos a family that is intrinsically linked with Philip continues to maintain his solo career ‘Schwab’ brass music of Csolnok, where he with the Bamberg Symphony Orchestra Salvation Army music-making at its highest and a continued interest in brass bands. was raised, has substantially influenced his conducted by Karl-Heinz Steffens, Arioso & level. From a young age, Philip regularly He is also actively involved with the musical career. Brillante (concertos for trumpet and organ) featured as a cornet soloist, appearing recently formed Superbrass, Eminence with Peter Kofler, and Brilliant Brass with alongside his brother Matthew and father Brass and LSO Brass ensembles. He enjoys After graduating from the Richter János the Wien-Berlin Brass Quintett. Stephen, accompanied by his mother Elaine, pursuing film music with the LSO and as a Conservatory in Győr, Gábor became a student making more regular appearances as a soloist freelance trumpet player; he can be heard of György Geiger at the Liszt Ferenc Teacher Gábor Tarkövi lectures at the Herbert von in ensuing years. In 2000 he gained a place on soundtracks for Jurassic World, Rise of Training College. He continued his studies Karajan Academy of the Berlin Philharmonic in the National Youth Brass Band of Great the Guardians and Solo: A Star Wars Story, under Frigyes Varasdy at the Liszt Ferenc and presents masterclasses all over the Britain, where he became Principal Cornet on and featured in the Opening and Closing Academy of Music. After studying in Budapest, world. He became Professor of Trumpet at a number of courses and won the prestigious ceremonies of the 2012 London Olympic he absorbed important musical learnings from the Berlin University of the Arts in 2018. • Harry Mortimer Award on four occasions. and Paralympic Games. • György Kurtág and Hans Gansch.

Artist Biographies 31 1948–49 / note by Philip Reed

Part I Introduction: Shine out, fair sun ritten’s first meetings with the Work on the symphony was postponed – year, but on 24 March 1949 Britten was The Merry Cuckoo Russian émigré conductor Serge partly by Britten’s change of mind about able to declare to his publisher that the Spring Koussevitzky •, in New York the text, partly by the intervention of other composition draft was finished. The Driving Boy and Boston, early in 1942, resulted in the projects – and it was not until August 1948 The Morning Star commissioning of the opera . that Britten began shaping his new plan for With Koussevitzky’s permission, the first Their next encounter, at Tanglewood in 1946 the work. By mid-October, he was able to performance of the Spring Symphony Part 2 Welcome, Maids of Honour at the US premiere of Grimes, earned Britten announce to , for whom the solo was given on 14 July 1949 in Amsterdam’s Waters Above another commission from the Koussevitzky tenor part was conceived, that he was ready Concertgebouw as part of the Holland Out on the Lawn Music Foundation, this time for a large-scale to start composition. A letter to the singer Festival, with soloists (soprano), and orchestral symphony. Although on 22 October describes progress: ‘The work (contralto) and Peter Part 3 When will my May come? Koussevitzky wanted the symphony for the started abysmally slowly & badly, & I got in Pears (tenor), the Dutch Radio Chorus and Fair and Fair following year, Britten’s involvement with a real state. But I think it’s better now. I’m the Concertgebouw Orchestra, conducted Sound the Flute! the recently formed , half way thro’ the sketch of the 1st movement by , an early post-war for whom he was writing a new chamber [‘Shine out, fair sun’], deliberately not champion of Britten. The work’s dedicatees, Part 4 Finale: opera compelled him to hurrying it, fighting every inch of the way. Koussevitzky and the Boston Symphony London, to thee I do present stall Koussevitzky’s enquiries about the It is terribly hard to do, but I think shows Orchestra, gave the US premiere at symphony’s progress. Writing on 12 January signs of being a piece at last. It is such cold Tanglewood later that summer. Elizabeth Watts soprano 1947, he declared: ‘l am desperately keen to do music that it is depressing to write & I yearn Alice Coote mezzo-soprano it for you, & I have elaborate & exciting ideas for the Spring to begin’. By the beginning The Spring Symphony is divided into four Allan Clayton tenor for it! But all the same I am keen not to do it of November, Britten had sketched out six sections broadly corresponding to the London Symphony Chorus in a hurry; I want it to be my biggest & best settings (the first four numbers, and the movements of the Classical symphony, Simon Halsey chorus director piece so far … I am planning it for chorus & Herrick and Vaughan settings from Part II) and owes some debt to Mahler’s example, Tiffin Boys’ Choir soloists, as I think you wanted; but it is a real and confessed to Pears, ‘it’s coming out particularly . The five Tiffin Children’s Chorus symphony (the emphasis is on the orchestra) different, bigger (& I hope better!)’. numbers of Part I comprise an extended The Tiffin Girls’ School Choir & consequently I am using Latin words.’ first movement; Parts II and III are shorter – James Day Tiffin choirs director A published note of the composer’s dating The composer’s optimism was short lived: three numbers each – and provide a from 1950 confirms his original intention he showed symptoms of suffering from contemplative, slow movement and a playful TEXTS of using a Latin text, but goes on to explain complete physical and mental exhaustion, scherzo respectively; Part IV is a rumbustious on Page 32 that ‘a re-reading of much English lyric and the following month was ordered by finale. Each of the work’s twelve separate verse and a particularly lovely spring day in his doctors to take complete rest for three numbers reflects different aspects of spring, East Suffolk, the Suffolk of Constable and months. Composition was not resumed on and is conceived for a different vocal and Gainsborough, made me change my mind.’ the Spring Symphony until the following instrumental configuration.

32 Programme Notes 16 September 2018 Part I opens with a slow introduction, references to the heterophonic techniques Flute!’ unites the full chorus with the boys, • FROM THE ARCHIVES a setting for chorus of the anonymous that were so to occupy the composer from but not before tenors and basses, sopranos In 1946 the LSO was featured playing 16th-century poem ‘Shine out, fair sun’. the mid-1950s onwards. and altos, and divided boys’ chorus have Britten’s The Young Person’s Guide to the This prayer for spring’s arrival is prefaced sung imitative duets. Orchestra, conducted and presented by (and subsequently punctuated) by a brief Part II, the slow movement, begins with Sir , in a famous film refrain for percussion and harps. Between ‘Welcome, Maids of Honour’ (mezzo- Part IV is cast in a single broad movement produced by the Ministry of Education, unaccompanied choral statements, whose soprano, single woodwind, harps and divided and comprises a setting of an extended The Instruments of the Orchestra. mood reflects the barren wintry landscape, lower strings), devised as a theme and three single text from ‘The Knight of the Burning The BFI has made the film available to are interpolated interludes for strings, variations. In ‘Waters Above’ Britten depicts Pestle’ by the Jacobean playwrights view online for free. To watch it, visit: woodwind and muted brass. At the climax Vaughan’s description of a gentle evening Beaumont and Fletcher. An attractive waltz goo.gl/XKqo3h of the movement these interludes shower of rain by directing the violins to play is heard, as if from a distance, before a call powerfully combine. Spenser’s ‘The Merry extremely quietly and close to the bridge. from a cow horn and the tenor’s declamation • Cuckoo’ is heralded by a trio of fanfaring The final movement of Part II, a setting of summon the people to the festivities. Serge Koussevitzky (1874–1951) was a Russian- trumpets cascading around the solo tenor. four stanzas from Auden’s ‘Out on the Lawn’ Everyone joins in a boisterous and virtuosic born conductor and publisher. He founded Nashe’s paean to spring in full bloom is for mezzo-soprano, wordless chorus and Allegro pesante, at whose climax the cow the Editions Russes de Musique in 1909, entrusted to the solo vocalists, while the an orchestra devoid of strings, is one of the horn once again rings out, and both chorus through which he promoted the music of chorus incants the opening phrase of the most highly developed in the symphony and and orchestra take up the jaunty waltz. Scriabin, Prokofiev, Stravinsky and Medtner, poem. Each stanza is rounded off by a bird stands at the work’s centre. One of Britten’s At the movement’s height the boys’ chorus, before leaving Russia in 1920 for Paris, where call cadenza from the soloists. typically evocative nightscapes (alto flute supported by the horns, intone the 13th- he organised a summer concert series. He and bass clarinet prominent), the movement century song ‘Sumer is icumen in’ as a moved to the US a few years later, where he Britten’s keen sensitivity to the dramatic develops towards a sudden outburst in the cross-rhythm descant. • became conductor of the Boston Symphony possibilities of juxtaposing different texts fourth stanza at the words, ‘Where Poland Orchestra, commissioned and conducted the is at work in the succeeding number, ‘The draws her Eastern bow’. premieres of numerous new works, founded Driving Boy’, a setting of words by Peele and the Tanglewood Music Center, and set up Clare. A carefree melody for boys’ voices, Part III sees a return to the direct expression the Koussevitzky Foundation to support accompanied by jaunty woodwinds, tuba of the first part of the symphony. The the composition of new works; the list of and tambourine, is in perfect contrast to the impetuous ‘When will my May come?’ (tenor, composers receiving its support reads like poised grace of the soprano’s description of harps and strings) is a strophic setting (the a Who’s Who of modern composition. the ‘happy, dirty driving boy’. The first part music repeats for each verse). The graceful of the symphony is brought to a close by duet for soprano and tenor, Peeles’ ‘Fair Milton’s ‘The Morning Star’ (chorus, brass and Fair’, toys with playful canons and and percussion), which includes nodding syncopated rhythms. The brief ‘Sound the

Programme Notes 33 Benjamin Britten Spring Symphony – Texts

— The Driving Boy ‘A symphony not only dealing with the Spring itself but with the progress of Winter to Spring Whenas the rye reach to the chin, And chop cherry, chop cherry ripe within, and the reawakening of the earth and life which that means.’ Strawberries swimming in the cream, Benjamin Britten on his Spring Symphony And school boys playing in the stream; — Then oh, then oh, then oh, my true love said, Till that time come again, PART I No word was heard of her that most it ought, She could not live a maid. But she his precept proudly disobeys, George Peele (1556–96) Introduction: Shine out, fair sun And doth his idle message set at nought. Shine out, fair sun, with all your heat, Therefore O love, unless she turn to thee The driving boy beside his team Show all your thousand coloured light! Ere cuckoo end, let her a rebel be. Of May month’s beauty now will dream. Black winter freezes to his seat; Edmund Spenser (1552–99) And cock his hat, and turn his eye The grey wolf howls he does so bite; On flower and tree and deep’ning sky; Crookt age on three knees creeps the street; Spring And oft burst loud in fits of song, The boneless fish close quaking lies Spring, the sweet spring, is the year’s pleasant king; And whistle as he reels along, And eats for cold his aching feet; Then blooms each thing, then maids dance in a ring, Cracking his whip in starts of joy The stars in icicles arise: Cold doth not sting, the pretty birds dry sing: A happy, dirty, driving boy. Shine out and make this winter night Cuckoo, jug jug, pu we, to witta woo? John Clare (1793–1864) Our beauty’s spring, our Prince of Light. Anon, 16th century The palm and may make country houses gay, The Morning Star Lambs frisk and play, the shepherds pipe all day, Now the bright morning star, day’s harbinger, The Merry Cuckoo And we hear aye birds tune this merry lay: Comes dancing from the East, and leads with her The Merry Cuckoo, messenger of spring, Cuckoo, jug jug, pu we, lo witta woo! The flowery May, who from her green lap throws His trumpet shrill hath thrice already sounded; The yellow cowslip and the pale primrose. That warns all lovers wait upon their king, The fields breathe sweet, the daisies kiss our feet, Hail bounteous May, that doth inspire Who now is coming forth with garlands crowned: Young lovers meet, old wives a sunning sit; Mirth and youth and warm desire. With noise whereof the quire of birds resounded In every street these tunes our ears do greet: Woods and grow are of thy dressing, Their anthems sweet devised of love’s praise, Cuckoo, jug jug, pu we, to witta woo! Hill and dale doth boast thy blessing. That all the woods their echoes back rebounded, Thomas Nashe (1567–c1601) Thus we salute thee with our early song, As if they knew the meaning of their lays. And welcome thee and wish thee long. But ‘mongst them all, which did love’s honour raise, John Milton (1608–74)

34 Texts 16 September 2018 PART II But never till this happy hour PART III Was blest with such an evening shower! Welcome, Maids of Honour Henry Vaughan (1621–95) When will my May come? Welcome, Maids of Honour When will my May come that I may embrace thee: You doe bring Out on the Lawn When will the hour be of my soules joying? In the Spring; Out on the lawn I lie in bed, If thou wilt come and dwell with me at home; And wait upon her. Vega conspicuous overhead My sheepcote shall be strowed with new green rushes; In the windless nights of June; We’ll haunt the trembling prickets as they roam She has Virgins many, Forests of green have done complete About the fields, along the hawthorn bushes; Fresh and faire; The day’s activity; my feet I have a piebald cur to hunt the hare: Yet you are Point to the rising moon. So we will live with dainty forest fare. More sweet than any. Now North and South and East and West, And when it pleaseth thee to walk abroad Y’are the Maiden Posies, Those I love lie down to rest; (Abroad into the fields to take fresh aire:) And so grac’d, The moon looks on them all: The meals with Flora’s treasures shall be strowed, To be plac’d, The healers and the brilliant talkers, (The mantled meadows and the fields so fair). ‘Fore Damask Roses. The eccentrics and the silent walkers, And by a silver well (with golden sands) The dumpy and the tall. I’ll sit me down, and wash thine iv’ry hands. Yet though thus respected, By and by To gravity attentive, she But if thou wilt not pitie my complaint, Ye doe lie, Can notice nothing here; though we My tears, nor vowes, nor oathes made to thy Beautie: Poore Girls, neglected. Whom hunger cannot move, What shall I do? But languish, die, or faint, Robert Herrick (1591–1674) From gardens where we feel secure, Since thou doth scorne my tears and soule’s duetie: Look up, and with a sigh endure And tears contemned, vowes, and oathes must fail: Waters Above The tyrannies of love: For when tears cannot, nothing can prevaile. Waters above! eternal springs! Richard Barnfield (1574–1620) The dew that silvers the dove’s wings! And, gentle, do not care to know O welcome, welcome to the sad; Where Poland draws her Eastern bow, Give dry dust drink; drink that makes glad! What violence is done; Many fair ev’nings, many flowers Nor ask what doubtful act allows Sweeten’d with rich and gentle showers Our freedom in this English house, Have I enjoy’d, and down have run Our picnics in the sun. Many a fine and shining sun; W H Auden (1907–73) Texts 35 Benjamin Britten Spring Symphony – Texts Continued

Fair and Fair Sound the Flute! PART IV Fair and fair, and twice so fair Sound the flute! As fair as any may be; Now it’s mute, Finale: London, to thee I do present The fairest shepherd on our green, Birds delight, London, to thee I do present the merry month of May; A love for any lady. Day and night; Let each true subject be content to hear me what I say, Fair and fair, and twice so fair, Nightingale With gilded staff and crossed scarf, the Maylord here I stand. As fair as any may be; In the dale, Rejoice! O English hearts, rejoice! O lovers dear! Thy love is fair for thee alone, Lark in sky Rejoice, O City, town and country! Rejoice, eke ev’ry shire And for no other lady. Merrily, For now the fragrant flowers do spring and sprout in Merrily, merrily, to welcome in the year. seemly sort, My love is fair, my love is gay. The little birds do sit and sing, the lambs do make fine sport; As fresh as bin the flowers in May; Little boy And now the birchen tree doth bud, that makes the And of my love my roundelay, Full of joy. schoolboy cry; My merry, merry, merry roundelay, Little girl The morris rings, while hobby horse doth foot it feateously; Concludes with Cupid’s curse: Sweet and small. The lords and ladies now abroad, for their disport and play, They that do change old love for new, Cock does crow Do kiss sometimes upon the grass, and sometimes in the hay; Pray gods they change for worse. So do you. Now butter with a leaf of sage is good to purge the blood; Merry voice Fly Venus and phlebotomy, for they are neither good; My love can pipe, my love can sing, Infant noise Now little fish on tender stone begin to cast their bellies, My love can many a pretty thing, Merrily, merrily, to welcome in the year. And sluggish snails, that erst were mewed do creep out And of his lovely praises ring of their shellies; My merry, merry, merry roundelays, Little lamb The rumbling rivers now do warm, for little boys to paddle; Amen to Cupid’s curse; Here I am. The sturdy steed now goes to grass, and up they hang They that do change old love for new, Come and lick his saddle; Pray gods they change for worse. My white neck. The heavy hart, the bellowing buck, the rascal, and the pricket, George Peele (1556–96) Let me pull Are now among the yeoman’s peas, and leave the Your soft wool. fearful thicket; Let me kiss And be like them, O you. l say, of this same noble town, Your soft face. And lift aloft your velvet heads, and slipping of your gown, Merrily, merrily, we welcome in the year. With bells on legs, with napkins clean unto your shoulders tied, (1757–1827) With scarfs and garters as you please, and ‘Hey for our town!’ cried,

36 Texts 16 September 2018 Benjamin Britten in profile 1913–76

March out, and show your willing minds, by twenty and by twenty, To Hogsdon or to Newington, where ale and cakes are plenty; And let it ne’er be said for shame, that we the youths of London Lay thrumming of our caps at home, and left our custom undone. Up, then, I say, both young and old, both man and maid a’maying, With drums, and guns that bounce aloud, and merry tabor playing! Which to prolong, God Save our King, and send his country peace. And root out treason from the land! And so, my friends, I cease. Beaumont and Fletcher (c1610) ritten received his first piano lessons from his The first performance of the opera Peter Grimes in 1945 mother, who encouraged her son’s earliest efforts opened the way for a series of magnificent stage works Sumer is icumen in, at composition. In 1924 he heard Frank Bridge’s mainly conceived for the English Opera Group. In June 1948 lhude sing cuccu. tone-poem The Sea and began to study composition with Britten founded the Aldeburgh Festival of Music and the Arts, Groweth sed and bloweth med him three years later. In 1930 he gained a scholarship to for which he subsequently wrote many new works. By the and springth the wode nu. the Royal College of Music, where he studied composition mid-1950s he was generally regarded as the leading British Sing cuccu. with John Ireland and piano with . Britten composer, helped by the international success of such attracted wide attention when he conducted the premiere as Albert Herring, and The Turn of the Screw. One Awe bleteth after lomb, of his in 1934. He worked for the GPO of his greatest masterpieces, the War , was first lhouth after calve cu. Film Unit and various theatre companies, collaborating performed on 30 May 1962 for the festival of consecration Bulluc sterteth, bucke verteth, with such writers as W H Auden and Christopher lsherwood. of St Michael’s Cathedral, Coventry, its anti-war message murrie sing cuccu. His lifelong relationship and working partnership with reflecting the composer’s pacifist beliefs. A remarkably Peter Pears developed in the late 1930s. At the beginning prolific composer, Britten completed works in almost every Cuccu, cuccu, of World War II, Britten and Pears remained in the US; genre and for a wide range of musical abilities, from those wel singes thu cuccu, on their return, they registered as conscientious objectors of schoolchildren and amateur singers to such artists as ne swik thu naver nu. and were exempted from military service. , Julian Bream and Peter Pears. • Anon, 13th century Composer Profile by Andrew Stewart

Texts & Composer Profile 37 Elizabeth Watts soprano Alice Coote mezzo-soprano

Concert and Laurence Cummings (Harmonia Her operatic engagements include male and Mundi); and Couperin with La Nuova Musica female roles such as Octavian in Strauss’ Der and David Bates (Harmonia Mundi). Rosenkavalier, Dejanira in Handel’s Hercules, Leonore in Donizetti’s La favorite, the title Plans this season and beyond include role in Bizet’s Carmen, and Charlotte in Rossini’s Petite Messe Solennelle with the Massenet’s Werther. She has performed LPO and Gustavo Gimeno; Brahms’ German these roles at opera houses including the Requiem with the OAE and Marin Alsop; , Glyndebourne, the Opéra Vaughan Williams’ Sea Symphony with de Paris, Vienna State Opera, The Canadian the Rundfunk Sinfonieorchester Berlin and Opera Company, San Francisco Opera and Nicholas Carter; Ligeti’s Le Grand Macabre the Metropolitan Opera New York. with the NDR Elbphilharmonie Orchester and Alan Gilbert; and a return to Wigmore Hall. Her recordings include Mahler Song Cycles and Das Lied Von der Erde (Pentatone); Opera roles have included Zerlina and Donna albums of both English and French song lizabeth Watts won the 2007 Elvira (Mozart’s Don Giovanni), Marzelline enowned on the recital, concert (Hyperion); Handel’s Messiah and Mahler’s Rosenblatt Recital Song Prize (Beethoven’s Fidelio), Pamina (Mozart’s The and opera stages of the world, Second Symphony (EMI); Elgar’s The Dream at the BBC Cardiff Singer of Magic Flute), Fiordiligi (Mozart’s Così fan Alice Coote’s career has taken her of Gerontius and The Apostles (Hallé); and the World competition, Outstanding tutte) and Almirena (Handel’s Rinaldo), for from her beginnings in the north of , Schubert’s Winterreise (Wigmore Hall Live). Young Artist Award at the Cannes MIDEM companies including the Royal Opera, Covent singing in local festivals and playing oboe DVD appearances include Messiah (EMI); and Classique Awards, and the 2006 Kathleen Garden, Santa Fe Opera, Welsh National in the Cheshire Youth Orchestra, to being Humperdinck’s Hansel and Gretel (EMI). Ferrier Award. She is a former BBC Radio 3 Opera and Glyndebourne on Tour. She recently regarded as one of the great artists of today. New Generation Artist and was awarded a appeared with the LSO and Sir Simon Rattle The 2018/19 season will see Coote perform the Borletti-Buitoni Trust Award in February 2011. at the BBC Proms in a performance of Ravel’s The recital platform is central to her musical title role in Handel’s Ariodante and Le Prince L’enfant et les sortilèges. life, with performances at Wigmore Hall Charmant in Massenet’s Cendrillon at the Lyric Her debut recording of Schubert Lieder (Sony) (where she has been a resident artist), Opera of Chicago; the title role in Agrippina was followed by equally acclaimed discs of Elizabeth was a chorister at Norwich the BBC Proms, Concertgebouw, Vienna at the Munich Opera Festival; concert Bach (Harmonia Mundi), Strauss Cathedral and studied archaeology at Konzerthaus, Lincoln Center New York performances with the Hallé Orchestra and Lieder with Roger Vignoles (Hyperion) and Sheffield University before studying singing at and Carnegie Hall. She is acclaimed for her Orchestre Philharmonique de Radio France; a Mozart arias with the Scottish Chamber the Royal College of Music in London. She was interpretations of Strauss, Mahler, Berlioz, recital at Wigmore Hall; and the release of a Orchestra and Christian Baldini (Linn Records); awarded an Hon DMus by Sheffield in 2013 Mozart, Handel and Bach with leading disc of Schubert Lieder. She was awarded an works by Alessandro Scarlatti with the English and became a Fellow of the RCM in 2017. • orchestras in the UK, Europe and the US. OBE in the Queen’s 2018 birthday honours. •

38 Artist Biographies 16 September 2018 Allan Clayton tenor Simon Halsey chorus director

2017. He reprised the role in March 2018 at He holds four honorary doctorates from UK the Adelaide Festival. During 2017, Allan universities, and in 2011 Schott published also sang the role of David in Wagner’s his book and DVD on choral conducting. Die Meistersinger von Nürnberg at the Royal Opera House, Covent Garden. At the Halsey has worked on nearly 80 recording beginning of the 2017/18 season, Allan sang projects, many of which have won major the role of Ferdinand in Miranda for Opéra awards, including the Gramophone Award, Comique. He returned to Komische Opera Diapason d’Or, Echo Klassik, and three Berlin in 2018 for Handel’s Semele, and Grammy Awards with the Rundfunkchor also to Glyndebourne for Handel’s Saul. Berlin. He was made Commander of the In 2019 he will give his first performance British Empire in 2015, was awarded as Faust in Berlioz’s The Damnation of The Queen’s Medal for Music in 2014, and Faust at Glyndebourne. received the Officer’s Cross of the Order of Merit of the Federal Republic of Germany Allan’s concert appearances have included in 2011 in recognition of his outstanding llan Clayton is one of the most with the LSO and imon Halsey occupies a unique contribution to choral music in Germany. exciting and sought-after singers Sir ; Britten’s with position in classical music. He of his generation. He studied the BBC Symphony Orchestra and Semyon is the trusted advisor on choral Born in London, Simon Halsey sang in the at St John’s College, and at Bychkov; Handel’s Messiah for the Handel singing to the world’s greatest conductors, choirs of New College, Oxford, and of King’s the Royal Academy of Music in London. & Haydn Society in Boston; and regular orchestras and choruses, and also an College, Cambridge and studied conducting An Associate of the Royal Academy of appearances at the BBC Proms, where this inspirational teacher and ambassador for at the Royal College of Music in London. Music and former BBC New Generation year he sang the tenor solos in Britten’s choral singing to amateurs of every age, In 1987, he founded the City of Birmingham Artist from 2007 to 2009, his awards include War Requiem with the RSNO. He gave the ability and background. Making singing a Touring Opera with Graham Vick. He was The Queen’s Commendation for Excellence, world premiere of Gerald Barry’s new work, central part of the world-class institutions Chief Conductor of the Netherlands Radio a Borletti-Buitoni Trust Fellowship, the Canada, at the 2017 BBC Proms with the with which he is associated, he has been Choir from 1997 to 2008 and Principal 2018 WhatsOnStage Award for Excellence City of Birmingham Symphony Orchestra. instrumental in changing the level of Conductor of the Northern ’s Choral in Opera, and the 2018 Royal Philharmonic symphonic singing across Europe. Programme from 2004 to 2012. From 2001 Society Singer Award. A consummate recitalist, Allan has given to 2015 he led the Rundfunkchor Berlin lieder recitals at the Cheltenham, Perth and He is also a highly respected teacher and (of which he is now Conductor Laureate); Allan garnered huge praise as the lead Aldeburgh festivals. He returned to Wigmore academic, nurturing the next generation of under his leadership the chorus gained a role in Brett Dean’s Hamlet, which had its Hall in January 2018 for a recital with pianist choral conductors through post-graduate reputation as one of the finest professional world premiere at Glyndebourne in June James Baillieu. • courses in Birmingham and masterclasses. choral ensembles. •

Artist Biographies 39 London Symphony Chorus on stage

President he London Symphony Chorus was Belshazzar’s Feast by Walton, Otello by The LSC is always interested in recruiting Sir Simon Rattle om cbe formed in 1966 to complement Verdi, and the world premiere of the St John new members, welcoming applications the work of the London Symphony Passion by James MacMillan were all under from singers of all backgrounds. Interested President Emeritus Orchestra and in 2016 celebrated its 50th the baton of the late Sir . singers are welcome to attend rehearsals André Previn kbe anniversary. The partnership between the The recent recording of Götterdämmerung before arranging an audition. For further LSC and LSO has continued to develop and was with the Hallé under Sir Mark Elder won a information, visit lsc.org.uk. • Vice President strengthened in 2012 with the appointment Gramophone award and the recording of of Simon Halsey as joint Chorus Director the Grande Messe des morts by Berlioz with of the LSC and Choral Director for the LSO. the LSO conducted by Sir Colin Davis won Patrons It now plays a major role in furthering the an International Music Award in the Choral cbe vision of the LSO Sing initiative. Works category. In June 2015 the recording of Howard Goodall cbe Sir Peter Maxwell Davies’ Tenth Symphony, The LSC has also partnered with many commissioned by the LSO and recorded Chorus Director other major orchestras and has performed by the LSO and the LSC with Sir Antonio Simon Halsey cbe nationally and internationally with the Pappano, won a prestigious South Bank Sky Berlin and Vienna Philharmonic Orchestras, Arts award in the Classical category. Associate Director and the Leipzig Gewandhaus Orchestra. Matthew Hamilton Championing the musicians of tomorrow, The 2017/18 season included performances it has also worked with both the National of Schoenberg’s Gurrelieder at the BBC Chorus Accompanist Youth Orchestra of Great Britain and Proms in 2017 with the LSO and Sir Simon Benjamin Frost the European Union Youth Orchestra. Rattle; Bernstein’s Wonderful Town and The Chorus has toured extensively throughout Berlioz’s The Damnation of Faust, also Chairman Europe and has also visited North America, with Sir Simon Rattle; Mahler’s Second Owen Hanmer Israel, Australia and South East Asia. Symphony with Semyon Bychkov; and Liszt’s ‘Faust’ Symphony with Sir Antonio Concert Manager Much of the LSC repertoire has been captured Pappano. Highlights of the forthcoming Robert Garbolinski in its large catalogue of recordings, which season include the world premiere of James have won nine awards, including five MacMillan’s All the Hills and Vales Along in LSO Choral Projects Grammys. Recent releases include Britten’s November, Bernstein’s Candide with Marin Andra East War Requiem with Gianandrea Noseda Alsop in December, and Puccini’s Messa di and Mahler’s Nos 2, 3 and 8 Gloria with Sir in March. with . The Seasons by Haydn,

40 London Symphony Chorus Assistant Chorus Sopranos Altos Tenors Basses Masters for Britten Greta Astedt Jasmine Spencer Rosalind Bagshaw Claire Trocmé Jorge Aguilar Brad Warburton Simon Backhouse * Spring Symphony Carol Capper * Deborah Staunton Hetty Boardman- Hannah Wisher Paul Allatt * Robert Ward * Ed Beesley Laura Catala-Ubassy Giulia Steidl Weston Jack Apperley Chris Bourne Matthew Hamilton Anjali Christopher Natalia Vargas Elizabeth Boyden Erik Azzopardi Gavin Buchan Jack Apperley Jessica Collins Lizzie Webb June Brawner Joaquim Badia Andy Chan Eve Commander Olivia Wilkinson Gina Broderick Philipp Boeing Steve Chevis Shelagh Connolly Alice Young Jo Buchan * Raymond Brien Giles Clayton Katharine Elliot Elizabeth Campbell Oliver Burrows Damian Day Lucy Feldman Liz Cole Michael Delany Thomas Fea Joanna Gueritz Maggie Donnelly Ethem Demir Ian Fletcher Maureen Hall Lynn Eaton Colin Dunn Robert Garbolinski * Isobel Hammond Linda Evans John Farrington Josué Garcia Jenna Hawkins Amanda Freshwater Matthew Fernando Dan Gosselin Rebecca Hincke Rachel Green Andrew Fuller * Owen Hanmer * Emily Hoffnung Yoko Harada Patrizio Giovannotti Rocky Hirst Denise Hoilette Kate Harrison Euchar Gravina Peter Kellett Kuan Hon Jo Houston Michael Harman Alex Kidney Claire Hussey * Elisabeth Iles Matthew Horne Andy Langley Nicole Jones Kristi Jagodin Jude Lenier George Marshall Ruth Knowles-Clark Jill Jones John Marks Hugh McLeod Luca Kocsmarszky Vanessa Knapp Alastair Mathews Geoff Newman Marylyn Lewin Gilly Lawson Matthew McCabe Alan Rochford Christina Long Belinda Liao * Daniel Owers Richard Tannenbaum Jane Morley Aoife McInerney Davide Prezzi Gordon Thompson Gill O’Neill Jane Muir Chris Riley Daniel Thompson Maggie Owen Helen Palmer Michael Scharff Robin Thurston Andra Patterson Susannah Priede Peter Sedgwick Anthony Wilding Carole Radford Lucy Reay Richard Street * Liz Reeve Lis Smith Malcolm Taylor *Denotes LSC Alison Ryan Margaret Stephen Simon Wales council member Madison Schindele Linda Thomas James Warbis

41 Tiffin Choirs on stage

Tiffin Boys’ Choir between 8 and 15 years old, rehearse Tiffin Boys’ Choir Amaarya Prasad The Tiffin Girls’ Yeonwoo Lee Tiffin Children’s Chorus each week under the Chorus Director Sian Prabhas Aenugu Arthur Pritchard School Choir Sophia Lau Mamon The Tiffin Girls’ School Choir Cadogan. The chorus has performed in many Luca Alvisini Kavin Ravishankar Naomi Armstrong Eleftheria Mangrioti local venues and is a regular contributor George Ashley Michael Reinecke Clara Bollen Lottie Newell James Day director at the Rose Theatre, Kingston. In addition Joe Ashton Pranav Sharma Gandolfo Valerie Pavlucok the chorus has been fortunate to perform Dylan Bevan Henry Studholme Jasmin Bowles Neera Radhakrishnan ince its foundation in 1957, the regularly at the Royal Opera House, most Leon Carey Harry Thurstan Elicia Branch Tiffin Boys’ Choir has worked recently in new productions of La bohème, Oliver Cheung Conor Tidswell Hannah Breen- with the world’s leading musical Cavalleria Rusticana and Pagliacci. Ben Church Ralph Todd-Drake Gibbons organisations, including all the London This summer, members of the chorus Joe Desmond Dominic Virley Nysa Chaudhary orchestras and the Royal Opera. Recent performed in concert and for a recording Alan Erdelyi Harvey Walsh- Olivia Cheesmur performances with the LSO have included with Paul McCreesh at Ely Cathedral as George Foster Whitfield Jasmine Chin Mahler’s Symphony No 3 with the LSO and part of the Gabrieli Consort ‘Roar’ project. Francis Gorniak Ricky You Rosie Clover at the BBC Proms, Berlioz’s Robbie Hancock Scarlett Coburn The Damnation of Faust with Sir Simon Tiffin Girls’ School is one of the country’s Isaac Hardy Tiffin Children’s Mia Coles Rattle and Bernstein’s Symphony No 3, leading maintained schools and has Nikolai Harin Chorus Eesha Darbar ‘Kaddish’ with Marin Alsop. The choir also achieved national recognition for exceptional Sion Hwang Emily Cadogan Leila Davis performs regularly abroad, including tours of academic and musical success. Under the Constantin Iosub Leila Campagna Lily Dhond Australia, China and Europe in recent years. direction of Dominic Neville, the choir gives a Jaiveer Johal Alessia Perugi Nilla Feronclark The choir has made recordings of most of great number of major choral performances Daniel Joiner William Jones Monica Fox the orchestral repertoire that includes boys’ each year and has performed in recent Jasper Jones Noa Dohler Harriet Fung choir, recorded for the soundtrack for The months at The Chapel Royal at Hampton David Kitamirike Cara Hieker Riya Gajendran Hobbit at Abbey Road Studios, and recently Court Palace, in the Brandenburg Choral Amadeus Lang Miyu Potin-Sawada Mehr Gajria took part in filming for Bohemian Rhapsody, Festival at St Martin-in-the-Fields; on tour Austin Lee Theo Potin-Sawada Avilasha Guha which is due to be released in 2019. in Belgium, at Ghent Cathedral and the Georgiy Lesyuk Isabelle-Rose Heyes Piriyankaa Hariram Heilige Magdalenakerk in Bruges; and with Oscar Luck Sakurako Shibazaki Isobel Hodgson Tiffin Children’s Chorus was formed the award-winning Gabrieli Consort and Avan Majumdar Hayden Williams Shubhange Jhingran over ten years ago as part of the Tiffin Paul McCreesh at Ely Cathedral. Last season Ryan Man Orla Rodgers Nayantara Kapoor School outreach programme within the the choir sang in Berlioz’s The Damnation Daniel McCarthy Billy Evans Danusha Kelly local community. The auditioned chorus of Faust, and is delighted to be performing Shirav Medepalli Mariam Khan has flourished and over 60 children, aged again with the LSO and Sir Simon Rattle. Erel Morris Ameerah Kola- Toby Perot Olukoton

42 Tiffin Choirs 16 September 2018 London Symphony Orchestra on stage 16 September

Leader Second Violins Cellos Flutes Bassoons Trumpets Timpani Giovanni Guzzo David Alberman Rebecca Gilliver Gareth Davies Rachel Gough Philip Cobb Nigel Thomas Thomas Norris Alastair Blayden Amy-Jayne Milton Daniel Jemison David Elton First Violins Miya Väisänen Jennifer Brown Joost Bosdijk Richard Blake Percussion Michelle Ross David Ballesteros Noel Bradshaw Piccolo Niall Keatley Neil Percy Lennox Mackenzie Matthew Gardner Eve-Marie Caravassilis Julian Sperry Contra Bassoon David Jackson Clare Duckworth Julian Gil Rodriguez Daniel Gardner Dominic Morgan Trombones Sam Walton Ginette Decuyper Naoko Keatley Hilary Jones Oboes Peter Moore Tom Edwards Gerald Gregory Belinda McFarlane Amanda Truelove Juliana Koch Horns James Maynard Paul Stoneman Maxine Kwok-Adams Iwona Muszynska Peteris Sokolovskis Olivier Stankiewicz Phillip Eastop Mark Robinson Laurent Quénelle Andrew Pollock Deborah Tolksdorf Rosie Jenkins Angela Barnes Bass Trombone Colin Renwick Paul Robson Alexander Edmundson Paul Milner Harps Sylvain Vasseur Dmitry Khakhamov Double Basses Cor Anglais Jonathan Lipton Bryn Lewis Harriet Rayfield Csilla Pogany Colin Paris Christine Pendrill Alex Wide Tuba Manon Morris William Melvin Erzsebet Racz Patrick Laurence Peter Smith Julian Azkoul Jan Regulski Matthew Gibson Clarinets Cow Horn Piano Laura Dixon Thomas Goodman Chris Richards Christopher Larkin Elizabeth Burley Shlomy Dobrinsky Violas Joe Melvin Chi-Yu Mo Alain Petitclerc Edward Vanderspar Jani Pensola Malcolm Johnston Matthias Bensmana Saxophones Anna Bastow José Moreira Kyle Horch German Clavijo Amy Green Stephen Doman Lander Echevarria Bass Clarinet Carol Ella Lorenzo Iosco Robert Turner Ausiàs Garrigós Morant May Dolan Stephanie Edmundson E-Flat Clarinet Cynthia Perrin Chi-Yu Mo Alistair Scahill

The Orchestra 43