A RARE INTERVIEW WITH JOHN GILHOOLY

PLUS SPRING SCHUMANN PERSPECTIVES 2018 PEKKA KUUSISTO RESIDENCY JAN ÁČEK’S INSTRUMENTAL WORKS FRIENDS OF OF FRIENDS YOUR 2018/19 DATES INSIDE John Gilhooly’s vision for extends far into the next decade and beyond. He outlines further dynamic plans to develop artistic quality, financial stability and audience diversity.

JOHN GILHOOLY IN CONVERSATION WITH JOURNALIST, ANDY STEWART. FUTURE COMMITMENT “I’M IN FOR THE LONG HAUL!” Wigmore Hall’s Chief Executive and Artistic Director delivers the makings of a modern manifesto in eight words. “This is no longer a hall for hire,” says John Gilhooly, “or at least, very rarely”. The headline leads to a summary of the new season, its themed concerts, special projects, artist residencies and Learning events, programmed in partnership with an array of world-class artists and promoted by Wigmore Hall. It also prefaces a statement of intent by a well-liked, creative leader committed to remain in post throughout the next decade, determined to realise a long list of plans and priorities. “I am excited about the future,” says John, “and I am very grateful for the ongoing help and support of the loyal audience who have done so much already, especially in the past 15 years.”

2 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 ‘The Hall is a magical place. I love it. I love the artists, © Kaupo Kikkas © Kaupo the music, the staff and the A glance at next audience. There are so many John’s plans for season’s highlights the Hall pave the confirms the strength characters who add to the way for another 15 and quality of an colour and complexion of the years of success. artistic programme “I want to make built by and for place, and they are all part of Wigmore Hall as Wigmore Hall. The what makes Wigmore special.’ accessible and pattern of work diverse as possible; includes a bold mix John Gilhooly I want us to raise of the mainstream a £10-15 million and the unexpected, endowment fund by often combined in the same series and woven 2025, helped by legacy giving and a major into programme strands that audiences can appeal. And I want to take our programming follow as the season unfolds. Florian Boesch to even higher levels. It’s been challenging opens the new season and launches the to get where we are, and there have been Hall’s comprehensive Schumann Song Series, a few bumps on the way. But I relish the set to run until July 2020. The Schumann opportunity to continue this great journey. focus continues with a Fauré / Schumann I’m in for the long haul, and of course none of Series, led by Steven Isserlis and friends, this can be achieved alone; the audience and and embraces the Elias ’s staff have been incredibly supportive ever interpretation of the composer’s string since I started here. And of course, we have quartets, at John’s invitation. American music an exceptional board of trustees who lead by runs through the season with the Escher example with their time and generosity.” String Quartet’s Journeys in the New World Ruling a line through many hall hires series and the complete string quartets of is emblematic of the venue’s artistic , performed in one evening by the independence. It reflects, above all, JACK Quartet, and there is a major residency confidence in a programme that delivers for Vox Luminis, comprising landmark works robust box-office business season after by Schütz, Charpentier and Bach. season. “Almost everything we do now The Songmakers’ Almanac under the comes directly under the auspices of direction of its founder, Graham Johnson, Wigmore Hall,” notes John. “Every artist makes a welcome return to Wigmore who appears here deserves to be included Street. “I was keen to revisit the best of in one of our series. We can now build their past programmes while bringing programmes and themes of the highest FUTURE COMMITMENT things up to date with fresh thinking, and artistic quality and scope. It’s why the Hall Graham was up for the challenge” recalls now has the strongest audience anywhere John. “What we’re offering here, with for song, and promotes the greatest major series and one-off performances, number of song recitals; we present around are very enjoyable, intellectually stimulating 60 concerts in our Early Music and Baroque “I’M IN FOR THE LONG HAUL!” and spiritually uplifting concerts. Creating Series, up from a dozen or so performances a sense of excitement around the under a decade ago; our solo series is programme is so important to the Hall’s now the largest in , while the number future. That’s why, for instance, we’re fully of string quartets appearing in the Hall has committed to commissioning new work, more than doubled along with their own building bespoke series in partnership unique audience, and we are able to develop with individual artists and ensembles, and themed series that run over several seasons sometimes with other international venues and feature leading artists.” and festivals, bringing the programme to Maintaining the status quo, he adds, is the widest possible audience.” not an option, “I think that’s clear from how There is full commitment, too, from I have operated since 2005.” Wigmore Hall Wigmore Hall’s Director. He looks forward will always present concerts by the great to a long period of development under his names in and song. But it leadership. “This is my dream job,” observes must also encourage those most likely to Gilhooly. “The Hall is a magical place. I love it. fill their shoes, to bring forward the stars of I love the artists, the music, the staff and the tomorrow. John speaks of 15 young singers audience. There are so many characters who armed with the vocal equipment and artistry add to the colour and complexion of the place, required to sustain a full evening’s recital and they are all part of what makes Wigmore at the Hall, a high number by any measure. special. It’s a great joy to work here.” There’s also an abundance of fine young

FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 3 string quartets fit for dates at Wigmore Hall and a remarkable Price © Simon Jay 2000 Appointed Executive Director, generation of pianists under the to work alongside William Lyne age of 35. “There’s a sense of tradition 2004 being continued and refreshed Led major £3.1m refurbishment project here,” he says. “I’m passionate 2005 about building audience trust Appointed overall Director so that they will support these incredible young artists. The 2005 quality threshold has been raised Launched Wigmore Hall Live for everything we do, and that 2006 includes for young performers. Awarded Hon. Fellowship of the Are they of the highest Royal Academy of Music international standard? Will audiences in Vienna, New York, Amsterdam, Berlin and 2006 – 2008 Led the campaign for the purchase of Paris want to hear them? We think in those

© Simon Jay Price © Simon Jay Wigmore Hall 200 year lease for £3.1m terms, even when we’re supporting ‘local’ artists and ensembles.” 2010 Promoting around 400 concerts each Celebrated 10 years as a member of staff year by outstanding performers, whether 2010 established or emerging, carries a heavy Elected Chairman of the Royal price tag. The rising cost of Wigmore Hall’s Philharmonic Society artistic programme reflects the calibre of performers on the bill. John sees the figure 2011 more as investment than expenditure, Wigmore Hall Live named Gramophone Label of the Year something to be enhanced, not trimmed. “I TOP John launching the 2018/19 Season remember when we were raising £400,000 BOTTOM John with the Castalian String Quartet 2012 for our own promotions, but our series was (who played at the Season Launch) Awarded Honorary Membership of nowhere near as large as it is these days; the Royal College of Music our own promotions have increased by some 2013 250 concerts. Now we need to raise £1.8 has Wigmore Hall and the Wallace Collection Awarded OBE in Her Majesty’s million annually to put on so many more at its heart. We’re the only concert hall Birthday Honours concerts. That’s part of a much wider vision in the West End, which gives us so many for Wigmore Hall, where we continue to set possibilities to reach out even further into 2013 Named by Musical America as one of the new standards, produce original programmes the community. The consultation very quickly music world’s most influential arts leaders and broaden the repertoire with the world’s put to rest any concerns about congestion best artists, and create fresh goals tailored to or noise issues on Wigmore Street, with 2015 this unique place. We want to set trends and an assurance that only two buses will be Bestowed Knight of the Order of the White break rules, and we want to preserve and diverted past the Hall and will travel on the Rose of Finland, by President of Finland promote the best of tradition, the timeless other side of the road. Local parking will 2015 foundations of the life-enhancing artistry that also remain adequate for our needs.” Awarded Honorary Fellowship of the our audiences value so much.” Growth is a constant in John’s analysis Guildhall School of Music and Drama Wigmore Hall’s building, unlike its of Wigmore Hall, touching everything from programme, offers little room for expansion. programme plans and artistic ambitions to 2015 Refurbishment of the Hall’s backstage spaces Although much improved with recent the physical environment and new and the creation of a media production studio refurbishment and backstage changes, audiences. “The Hall has never been more public space remains at a premium. John’s financially stable than it is now,” he 2016 long-term vision includes the prospect of comments. “Ticket sales continue to rise Awarded German Order of Merit, securing the lease on an adjacent property, every season and we’re constantly seeing Germany’s highest civilian honour on Wigmore Street, Welbeck Way or Wimpole new faces coming through the doors. 2016 Street, to add capacity for additional Sometimes people come here because Awarded Honorary Fellowship of the hospitality facilities, a designated Learning they’re looking for a good night out; other Royal Irish Academy of Music space, a second restaurant and more. The people are looking to follow a series or idea also fits with the Mayor of London’s residency as it develops. It’s important that 2016 Listed as one of Britain’s 500 most influential plans to transform Oxford Street, develop we serve both groups, which is why I am people by The Sunday Times / Debrett’s new public spaces in the Marylebone area so pleased with the breadth and depth of and create a cultural hub at the heart of the next season and those to come. I cannot 2017 West End. “We will wait for the right building thank the Friends of Wigmore Hall enough Bestowed Order of the Star of Italy to become available, so we can improve the for making this transformation possible, and (Cavaliere) by the President of Italy concert-going experience” observes John. we look forward together to new challenges 2017 “We were involved from the start of the and opportunities as they arise. It’s very Bestowed Austrian Cross of Honour Oxford Street consultation process and are exciting for us all to be part of this for Science and Art excited by the regeneration proposal, which wonderful Hall.”

4 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 Anyone in search of antidotes to slavish Pekka Kuusisto conformity and rigid thinking should Residency embraces listen to Pekka Kuusisto. The Finnish violinist, subject of a three-concert critically acclaimed residency at Wigmore Hall next season, violinist’s independent stands for values of imaginative freedom, creative pluralism and artistic spirit and compelling adventure. If that sounds too vague, too artistry. reductive, then take a look at his recent and future dates. The list embraces high-profile appearances with leading orchestras and conductors, a collaborative project with South Korean artist Aamu Song at Berlin’s Pierre Boulez Saal, play-direct performances with the ’s Karajan- Akademie and tenor Mark Padmore, premières of new works by Bryce Dessner, Nico Muhly and Daníel Bjarnason at Carnegie Hall and the Hollywood Bowl, soaring electronic improvisations, and a chamber music collaboration with Finnish artist Maija Tammi inspired by research into cancer cells. BRIDGES It also details outings as Artistic Partner of the St Paul Chamber Orchestra, Artistic Best Friend of Deutsche Kammerphilharmonie Bremen and Artistic Director of the NOT WALLS Australian Chamber Orchestra’s ACO Collective. And then there’s the matter of writing music for the Moomins. The 41-year-old, whose composer father wrote a Moomin opera shortly before his son’s birth, is set to complete a thick slice of the soundtrack score for a new animation series devoted

to Tove Jansson’s peace-loving inhabitants Kamu © Kaapo of Moominvalley. “I think this might change my life,” Kuusisto observed before starting and Bartók and a new composition by rock star looks. He might, however, prefer the job last year. It has certainly broadened Finnish composer Perttu Haapanen, recently to be known as the world’s Isaiah his already wide experience of creative appointed artistic director of Helsinki’s Berlin, a passionate advocate of freedom collaboration. “Interest in the Moomins has pioneering Uusinta Ensemble. of expression, champion of intellectual and grown worldwide since the centenary of Pekka Kuusisto’s artistry rests on a spiritual curiosity. Jansson’s birth in 2014, which is why it’s so combination of impeccable technique, built “The times we live in raise so many exciting to be involved with this television since he played his first notes on the violin questions that are ripe for artistic projects,” project,” he notes. at the age of three, the innate drive of a observes Kuusisto. “I always want to open Wigmore Hall audiences will be able to natural risk-taker, and profound love for music up so that people can find their own follow the course of Kuusisto’s perceptive the works in his strikingly wide repertoire. way into it, without being told what to think programming throughout the 2018/19 His debut at the BBC Proms in 2016 – a or how to feel.” The artistic breadth and Season. He launches his Residency on revelatory performance of Tchaikovsky’s repertoire depth of his Wigmore Hall Thursday 13 September and returns for Violin Concerto – prompted The Times to residency – with its marriage of the familiar further concerts on Wednesday 23 January describe Kuusisto as ‘the of and the new, imagination and insight – offer and Wednesday 1 May. Pekka Kuusisto the fiddle’, a title awarded as much for the the ideal chance to share the infinite variety Residency is set to include works by Bach inspiration of his performance as for his of Pekka Kuusisto’s creative world.

FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 5 SCHUMANN: PERSPECTIVES If a key part of the Romantic movement was the intermingling of all the arts – and Wagner’s idea of the Gesamtkunstwerk (Complete Art Work) suggests that it was – then Robert Schumann is a potent prototype of the Romantic composer. His career choice hovered for some time between literature – his father was a publisher – and music. Even after his youthful profusion of tales, poems and dramas had ceased, he remained a literary man, an editor and a critic.

PIANIST AND BROADCASTER DAVID OWEN NORRIS TELLS US MORE.

A poem might not confine itself to becoming a song, it could inspire a symphony; a novel could transform itself into a piano suite. This mingling of words and music in Schumann’s mind is clearest in some of his titles. Even so thoroughly Romantic a figure as Chopin confined himself to ‘It is generally as a compliment, but it explains why Schumann’s generic titles – berceuse, barcarolle, whole sets of reputation grew during a century of psychoanalysis nocturnes, ballades, and mazurkas distinguished agreed that and detective stories. The urge to find out Why? from each other only by key and opus number. conventional – Warum?, to coin a title – drew music lovers to Not for him – still less for Schumann’s friend Schumann’s rich, crepuscular obscurity, even as Mendelssohn – the fancies of Soaring, Dreaming, technique was not they began to reject Mendelssohn’s radiant clarity Merry Peasants, or Eusebius and Florestan, two and technical certainty. of Schumann’s complicated alter nos. Most of us Schumann’s forte. It is generally agreed that conventional are content with just one alter ego, and even if His music has technique was not Schumann’s forte. His music Schumann’s multiple personae are not related to has its origin in his improvisations at the piano, his ultimate breakdown, confinement and death in its origin in his and pinning down those airy butterflies with inky an asylum, they may remind us that his family had improvisations crotchets and quavers was a tricky business. It a history of mental instability, and that he feared was this difficulty that led him to a habit of revision insanity all his life. at the piano, and that eventually led to a quarrel between the pianist To this heady mix of fanciful titles, music and Charles Rosen and his friend W.H Auden. Rosen madness, Schumann adds secrecy. His music pinning down those preferred to perform Schumann’s original versions, is full of unexplained quotations and hidden airy butterflies while Auden felt that the creator should always references. The late Gerald Abraham suggested be allowed the last word. (It would be difficult to that Schumann took pleasure in hiding behind with inky crotchets imagine artists more different than Schumann and masks, adding ‘it is clear that his music meant and quavers was a Auden, so perhaps Rosen was right.) more to him than it can ever mean to anyone Wigmore Hall gives us a wonderful opportunity else’. Abraham may not have meant this entirely tricky business.’ to investigate this enigmatic genius for ourselves.

6 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 Steven Isserlis spearheads a survey of the chamber music: Schumann at his most purely musical. No fanciful titles, even in the sets of

Fantasy pieces, but simple statements of sober © Gisela Schenker fact: Piano Quintet, Piano Quartet – both from 1842, like the three String Quartets, reminding us that Schumann liked to concentrate on one thing at a time, chamber music in this instance – and the first Piano Trio, along with the first and last violin sonatas. The latter, dating from 1853, carries us into the world of Schumann’s friends and colleagues. The prodigious young violinist Joseph © Benjamin Ealovega Joachim performed in Schumann’s Festival in Düsseldorf that year, and during the autumn Joachim’s friend presented himself at the Schumanns’ front door. A plan was quickly hatched for Joachim’s imminent return visit. Schumann, Brahms and another composer, Albert Dietrich, collaborated on a violin sonata based on Joachim’s motto, Frei aber einsam – ‘free but lonely’ – the notes F, A and E. The piece was triumphantly performed at sight by the dedicatee and Schumann’s wife, the composer and piano virtuoso Clara, née Wieck – and the very next day, Schumann sat down to compose movements extremely well suited, of course, and his cultivated to replace those by Brahms and Dietrich! No literary taste often allowed him to come up wonder Steven Isserlis has transcribed it for with a more perfect combination of words and cello. Steven’s series links Schumann with Gabriel music than even Schubert managed. Schumann Fauré, by the way – an intriguing pairing. immersed himself in song-writing in 1840, the and year of his marriage to Clara, and Florian Boesch’s explore a particular aspect of Schumann’s world recital of Heine settings brings us some of the in Schumann and the Ladies. Not just Robert’s year’s slightly less familiar pieces, like the great Frauenliebe-und-leben (‘Women’s Life and Love’), ballads Belsatzar and The Two Grenadiers. The but also some of his songs to words by female recital opens with another Dichterliebe (‘Poet’s poets, and songs by women composers like Fanny Love’), by Robert Franz (Marie Hinrichs’ husband) Hensel (Mendelssohn’s sister), Josephine Lang, – a fascinating insight into musical poetics for Marie Hinrichs, and above all, Robert’s wife, Clara. anyone who’s ever heard Schumann’s song- Schumann was the inheritor of Schubert’s cycle of 1840, and a delight in itself for those mantle of song-writing. As an alert, savvy who perhaps have not. Boesch also includes youngster, Schumann knew all about Schubert songs by Franz Liszt, with whom the Schumanns when most of his contemporaries didn’t – he maintained a wary friendship – another composer even wrote Schubert a letter of admiration. who ranged far and wide across the arts for his Unfortunately, he didn’t send it, and when he musical inspiration. heard of his hero’s death, he sobbed through Schumann’s musical world is at the heart of the night. Binding words and music together Martineau’s song recitals with Robin Tritschler © Satoshi Aoyagi was something to which Schumann was and Paula Murrihy, where we can hear other composers’ songs to poets set by Schumann, or works that Schumann himself reviewed. Not just faintly familiar names like Marschner, Raff and © Lukas Beck Loewe, but also names like Taubert and Fesca, to remind us what an unimaginable wealth of music there is out there that we don’t know yet. And that’s the inspiring thought behind the Elias Quartet’s new commissions, companion pieces to Schumann’s String Quartets from Sally Beamish and from the (as-yet-unannounced) winner of a competition at the Royal Northern College of Music. Bringing us the tried and tested foundations of the repertoire, but so much more besides, Wigmore Hall’s Schumann concerts are bursting TOP LEFT Elias String Quartet with new insights, new repertoire, and new ABOVE Steven Isserlis RIGHT Florian Boesch composers, all interpreted by some of the world’s TOP RIGHT Christiane Karg greatest performers.

FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 7 The French ensemble Correspondances,

founded and directed by Sébastien Daucé, © Molina Visuals will give three Wigmore Hall concerts in 2018/19. This mini-residency is an exciting development both for them and for us.

ENSEMBLE CORRESPONDANCES The name defines their mission: seeking miniature until Lully’s death gave him the to concentrate the minds of worshippers to connect music of the French Baroque opportunity to scale up. In Orpheus Chant (21 as they prepared first to mark Good Friday with other types of artwork, and with music October 2018), Purcell theatre songs frame the (the anniversary of Christ’s crucifixion) and produced in other countries around the two acts of Charpentier’s La descente d’Orphée then to celebrate Easter and the miracle of same time. Some of these connections aux Enfers, an hour-long music drama telling resurrection. The Tenebrae services centred would have been obvious to contemporary essentially the same story as Monteverdi’s on readings – Leçons – after each of which audiences – the magical interplay of words, Orfeo. Orpheus journeys to the underworld a musical response followed, reinforcing music, movement, scenery and stage on a doomed mission to rescue his dead messages delivered in the Leçons and machinery in Baroque opera for instance. lover Eurydice. Charpentier stops short of the encouraging emotional as well as intellectual Others are easier to demonstrate now than classic tragic ending but everyone watching involvement in the unfolding Easter story. they would have been then. would have known how things turned out. Leading stage singers appeared in the Today Marc-Antoine Charpentier and Henry Purcell’s own correspondence with Orpheus fashionable Paris churches during Holy Purcell are recognised as two of the 17th- the superstar musician of Greek myth was Week: de Lalande exploited their virtuoso century’s greatest theatre music composers celebrated posthumously: Orpheus Britannicus skills to create an experience perhaps even (really two of the best of all time). They never I and II were the two all-Purcell song volumes more intense than that available in the opera met and had probably never heard of each published not long after his death. house – since it reminded listeners of their other. Both were natural dramatists, both Like Charpentier, Michel Richard de own mortality and hopes of salvation. were endlessly resourceful setters of words, Lalande could turn music commissioned And finally,All the Nights, (starting at and both had a gift for the tuneful shaping for more or less any occasion into 10:00pm on 5 July 2019). Two of the four even of recitative. Career frustration led unforgettable drama. The programme composers featured, Antoine Boesset and both of them to innovate. Older men already Leçons de ténèbres (22 April 2019, straight Louis Constantin, were a generation older held the top jobs in England’s court music after Easter) features music written for than Charpentier and de Lalande, serving establishment: Purcell stepped sideways liturgical performance in Holy Week, meant not the Sun King Louis XIV but his father into the theatre looking to boost his relatively Louis XIII. Night thoughts wander off in meagre court salary … and overtook them all. different directions: some nightmarish, some In Paris the musical autocrat Jean-Baptiste ENSEMBLE guiltily reflective; some distinctly optimistic, Lully, showered with money and monopoly CORRESPONDANCES anticipating the great days to which real or privileges by Louis XIV, made sure that laws metaphorical night will surely give way. The 21 October 2018 – Orpheus Chant were passed to stop anyone else composing programme’s dusk-to-dawn trajectory is 22 April 2019 – Leçons de ténèbres full-length operas to compete with his. designed to lift gloom ultimately, not to 5 July 2019 – All the Nights (late night) Charpentier worked instead for the Duchesse wallow in it. de Guise, an aristocratic patron with better Andrew Pinnock; Professor: Musicology, Arts Management taste than Louis, arguably, making opera in & Cultural Policy University of Southampton

8 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 SEASON LISTINGS

Chamber Music Season SUN 13 Doric String Quartet MAY 2019 TUE 15 WED 01 Pekka Kuusisto Residency: SEPTEMBER 2018 SAT 19 Alina Ibragimova (violin) / Pekka Kuusisto (violin) WED 12 Schumann String Quartet Cédric Tiberghien (piano) THU 02 Notos Quartet (piano quartet) THU 13 Pekka Kuusisto Residency: SUN 20 The Endellion String Quartet – WED 08 Pekka Kuusisto (violin) th 40 Anniversary Concert THU 09 Jerusalem Quartet Thu 20 Alexander Melnikov Residency: WED 23 Pekka Kuusisto Residency: Steven Osborne (piano) / Alexander Mlenikov (piano) / SAT 11 Pekka Kuusisto (violin) Alban Gerhardt (cello) FRI 25 ECMA Showcase MON 13 Håkan Hardenberger (trumpet) / James Ehnes (violin) FRI 21 SAT 26 ECMA Showcase Roland Pöntinen (piano) Andrew Armstrong (piano) SAT 26 WED 15 Takács Quartet SUN 23 Heath Quartet SUN 27 ECMA Showcase THU 16 YCAT Public Final Auditions 2019 MON 24 Christian Blackshaw Residency: Christian Blackshaw (piano) FEBRUARY 2019 FRI 17 Takács Quartet / Garrick Ohlsson (piano) Soloists of the Berliner Philharmoniker SUN 03 Piers Lane (piano) / Goldner Quartet SUN 19 Royal Academy of Music Soloists / TUE 25 Quartet TUE 05 Residency Thomas Gould (violin) Castalian String Quartet / WED 26 Elena Bashkirova (piano) / Jerusalem SAT 09 Michael Collins (clarinet) TUE 21 Aleksandar Madžar (piano) / Chamber Music Festival Ensemble MON 11 Alisa Weilerstein (cello) / Inon Barnatan Anthony Marwood (violin) FRI 28 Schumann String Quartet Series: (piano) / Sergey Khachatryan (violin) THU 23 Schumann String Quartet Series: Elias String Quartet / Jonathan Biss (piano) WED 13 Britten Sinfonia Elias String Quartet SAT 29 Composers and their Muses: WED 13 Nikolaj Znaider (violin) / SAT 25 Piatti Quartet Steven Isserlis (cello) / Connie Shih (piano) Robert Kulek (piano) SAT 25 Narek Hakhnazaryan Series: OCTOBER 2018 SAT 16 Nash Ensemble: ‘German Romantics’ Narek Hakhnazaryan (cello) / TUE 02 Narek Hakhnazaryan Series: WED 20 Skride Quartet Pavel Kolesnikov (piano) Narek Hakhnazaryan (cello) FRI 22 Schumann String Quartet Series: WED 29 The Endellion String Quartet FRI 05 IMS Prussia Cove Elias String Quartet THU 30 Hilary Hahn (violin) SAT 06 Pieter Wispelwey (cello) SAT 23 Trio Zimmermann (string trio) JUNE 2019 SAT 13 Veronika Eberle (violin) / TUE 26 Quatuor Zaïde MON 03 Doric String Quartet / Jonathan Dénes Várjon (piano) MARCH 2019 Biss (piano) TUE 16 Danish String Quartet TUE 05 Sir George Benjamin Focus: Ensemble SAT 08 Oboe Day: SAT 20 Nash Ensemble: ‘German Romantics’ Modern / Sir George Benjamin Nicholas Daniel (oboe) FRI 26 The Endellion String Quartet (conductor) / Anu Komsi (soprano) / MON 10 NOVEMBER 2018 Helena Rasker (contralto) FRI 14 Jean-Guihen Queyras (cello) / SAT 03 Music in the Round WED 06 Sir George Benjamin Focus / Isabelle Faust (violin) / Wigmore at the Roundhouse: Alexander Melnikov (piano) WED 07 Takács Quartet Ensemble Modern Orchestra / SUN 16 Fauré / Schumann Project: FRI 09 Takács Quartet Sir George Benjamin (conductor) Steven Isserlis (cello) SUN 11 Academy of St Martin in the Fields / SAT 09 Hans Keller Day MON 17 Cuarteto Casals Joshua Bell (violin) MON 11 Nils Mönkemeyer () / TUE 25 Emanuel Ax 70th birthday concert: TUE 13 Artemis Quartet William Youn (piano) Emanuel Ax (piano) / Simon Keenlyside Wed 14 Baiba Skride (violin) / Lauma Skride TUE 12 Janine Jansen (violin) / (baritone) / Dover Quartet (piano) / Trio Palladio (piano trio) / Alexander Gavrylyuk (piano) JULY 2019 Antonina Suhanova (piano) SAT 16 Heath Quartet SAT 06 Xavier Phillips (cello) / THU 15 TUE 19 Nash Ensemble: ‘German Romantics’ François-Frédéric Guy (piano) SAT 17 Fauré / Schumann Project: Isabelle FRI 22 Škampa Quartet SUN 07 Faust (violin) / Steven Isserlis (cello) FRI 19 Kian Soltani (cello) Alexander Melnikov (piano) / SAT 23 Fauré / Schumann Project: Steven Rachel Roberts (viola) Isserlis (cello) / Joshua Bell (violin) / WED 17 Alexi Kenney (violin) / Jeremy Denk (piano) Orion Weiss (piano) WED 21 Britten Sinfonia WED 27 Britten Sinfonia MON 22 Lana Trotovsek (violin) / THU 22 FRI 29 Kristóf Baráti (violin) / Víkingur Maria Canyigueral (piano) SAT 24 Nash Ensemble: ‘German Romantics’ Ólafsson (piano) / István Várdai (cello) SUN 25 Peasmarsh Festival – th SUN 31 Alexander Melnikov Residency: 20 Anniversary Concert Alexander Melnikov (piano) / Teunis van London Pianoforte Series MON 26 / Paul Cannon (double bass) der Zwart (horn) / Lorenzo Coppola SEPTEMBER 2018 FRI 30 Alina Ibragimova (violin) / (clarinet) / Javier Zafra (bassoon) / FRI 14 Mozart & the 2nd Viennese School: Cédric Tiberghien (piano) Marcel Ponseele (oboe) Elisabeth Leonskaja (piano) DECEMBER 2018 APRIL 2019 SUN 16 Andreas Staier (piano) MON 03 Escher String Quartet Residency SAT 06 Complete Elliott Carter String Quartets: THU 20 Alexander Melnikov Residency: WED 05 Benedetti Elschenbroich Grynyuk Trio JACK Quartet Alexander Melnikov (piano) / SAT 08 Nash Ensemble: ‘German Romantics’ TUE 09 The Chamber Music Society Cuarteto Casals of MON 10 Janáček Focus: Pavel Haas Quartet OCTOBER 2018 WED 10 Escher String Quartet Residency WED 12 Quatuor Ebène THU 04 The Bach Odyssey: Angela Hewitt (piano) FRI 12 Nash Ensemble: Nash Inventions MON 17 Steven Isserlis 60th Birthday Concert SUN 07 Francois-Frédéric Guy (piano) TUE 23 Fauré / Schumann Project: Steven Isserlis SAT 29 Trio Wanderer WED 10 Sir András Schiff (piano) (cello) / Janine Jansen (violin) / Amihai FRI 12 Sir András Schiff (piano) SUN 30 Castalian String Quartet Grosz (viola) / Connie Shih (piano) THU 18 Jeremy Denk (piano) JANUARY 2019 SAT 27 Patricia Kopatchinskaja (violin) / Reto Bieri WED 09 Tasmin Little (violin) / Piers Lane (piano) (clarinet) / Polina Leschenko (piano) TUE 23 Martin Helmchen (piano) Nicolas Hodges (piano) SAT 12 Nash Ensemble: ‘German Romantics’ MON 29 Hagen Quartet TUE 30 FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 01 NOVEMBER 2018 JULY 2019 FRI 14 Kiri Te Kanawa Foundation Gala THU 01 Federico Colli (piano) FRI 05 Lucas Debargue (piano) WED 19 Mark Padmore (tenor) / SAT 10 Cédric Tiberghien (piano) TUE 16 Mozart & the 2nd Viennese School: Simon Lepper (piano) MON 19 Alexandre Tharaud (piano) Elisabeth Leonskaja (piano) THU 20 Andreas Scholl (countertenor) / Tamar Halperin (piano) TUE 27 Boris Glitburg (piano) SUN 21 Brahms Focus: Jonathan Plowright (piano) FRI 21 Christian Blackshaw Residency: DECEMBER 2018 THU 25 Kit Armstrong (piano) Alice Coote (mezzo-soprano) / SUN 02 Brahms Focus: Christian Blackshaw (piano) Jonathan Plowright (piano) SUN 23 Brenda Rae (soprano) SUN 09 Janáček Focus: Thomas Adès (piano) Song Recital and FRI 28 Nicky Spence (tenor) / THU 13 Bertrand Chamayou (piano) Vocal Series Roger Vignoles (piano) SUN 16 Richard Goode (piano) JANUARY 2019 SEPTEMBER 2018 THU 27 Nick van Bloss (piano) SAT 05 Christoph Pohl (baritone) / JANUARY 2019 SAT 08 Schumann Song Series: Florian Boesch Marcelo Amaral (piano) (baritone) / Malcolm Martineau (piano) THU 03 Sergio Tiempo (piano) MON 14 Robin Tritschler Residency: MON 10 Dorothea Röschmann (soprano) / TUE 08 Sunwook Kim (piano) Robin Tritschler (tenor) / Malcolm Martineau (piano) Graham Johnson (piano) FRI 11 Alexander Melnikov Residency: SAT 15 Ravel Series: Mary Bevan Andreas Staier (piano) / WED 16 Christian Gerhaher (baritone) / (soprano) / Henk Neven (baritone) / Gerold Huber (piano) Alexander Melnikov (piano) Joseph Middleton (piano) TUE 22 Dutilleux Birthday Celebration: FRI 18 Christian Zacharias lecture-recital: Schubert Cycles: (tenor) / MON 17 François Le Roux (baritone) / “Why does Schubert sound like Schubert?” Thomas Adès (piano) Olivier Godin (piano) MON 21 Rafał Blechacz (piano) WED 19 Schubert Cycles: Ian Bostridge (tenor) / Mary Bevan (soprano) / FRI 25 Roman Rabinovich (piano) Thomas Adès (piano) TUE 22 Marcus Farnsworth (baritone) / SUN 27 Christian Blackshaw Residency: SAT 22 Russian Series: Olena Tokar (soprano) / Christopher Glynn (piano) Christian Blackshaw (piano) – Pavel Kolgatin (tenor) / Nikolay Didenko 70th Birthday Gala (bass) / Iain Burnside (piano) THU 24 Graham Johnson – Songmakers’ Almanac: Graham Johnson (piano) FEBRUARY 2019 SUN 23 Mary Bevan (soprano) / Nicky Spence (tenor) / William Vann (piano) MON 28 Russian Series: Sofia Fomina (soprano) / SAT 02 Piers Lane (piano) Oleksiy Palchykov (tenor) / Rodion FRI 08 Llŷr Williams (piano) SUN 30 Manuel Walser (baritone) / Pogossov (baritone) / Iain Burnside (piano) Anano Gokieli (piano) SUN 10 Jean-Efflam Bavouzet (piano) THU 31 Marlis Petersen Residency: OCTOBER 2018 TUE 12 Leon McCawley (piano) Marlis Petersen (soprano) / Werner WED 03 Robin Tritschler Residency: Güra (tenor) / Christoph Berner (piano) SUN 24 Kirill Gerstein (piano) Robin Tritschler (tenor) / WED 27 Garrick Ohlsson (piano) Malcolm Martineau (piano) FEBRUARY 2019 James Newby (baritone) / MARCH 2019 SUN 07 ENO Harewood Artists Recital SUN 03 Joseph Middleton (piano) MON 04 Brahms Focus: TUE 09 Marlis Petersen Residency: Jonathan Plowright (piano) Marlis Petersen (soprano) / MON 04 Schumann Song Series: Matthias Lademann (piano) Christiane Karg (soprano) / THU 07 Denis Kozhukhin (piano) Malcolm Martineau (piano) TUE 26 Zlata Chochieva (piano) THU 11 Benjamin Appl (baritone) / Graham Johnson (piano) FRI 15 Schumann Song Series: APRIL 2019 Anne Schwanewilms (soprano) / Independent Opera Scholars’ FRI 19 Malcolm Martineau (piano) SUN 07 Louis Schwizgebel (piano) Recital 2018 SUN 17 Elīna Garanča (mezzo-soprano) / SUN 14 Lise de la Salle (piano) SUN 21 Tareq Nazmi (bass) / Malcolm Martineau (piano) THU 18 The Bach Odyssey: Angela Hewitt (piano) Gerold Huber (piano) Henk Neven (baritone) / SUN 28 Louis Lortie (piano) MON 22 Piotr Beczała (tenor) TUE 19 Imogen Cooper (piano) MAY 2019 THU 25 Michaela Schuster (mezzo-soprano) / MON 25 Marlis Petersen Residency: FRI 03 Piotr Anderszewski (piano) Matthias Veit (piano) th Marlis Petersen (soprano) / 50 Birthday Concert FRI 26 Andrew Watts (countertenor) / Anke Vondung (mezzo-soprano) / SUN 05 Aaron Pilsan (piano) Iain Burnside (piano) Werner Güra (tenor) / Paul Armin TUE 07 Andreas Staier (fortepiano) SAT 27 Yaniv d’Or (countertenor) / Edelmann (baritone) / Christoph Ensemble NAYA FRI 10 Sir András Schiff (piano) Berner(piano) / Camillo Radicke (piano) NOVEMBER 2018 TUE 14 Sir András Schiff (piano) MARCH 2019 FRI 02 Marie-Nicole Lemieux (contralto) / Imogen Cooper (piano) / FRI 01 Russian Series: MON 20 Roger Vignoles (piano) Adrian Brendel (cello) / Kristina Mkhitaryan (soprano) / Henning Kraggerud (violin) SUN 04 Hanna-Elisabeth Müller (soprano) / Dmytro Popov (tenor) / Juliane Ruf (piano) Iain Burnside (piano) WED 22 Igor Levit Variations Series: Igor Levit (piano) TUE 06 René Pape (bass) / SAT 02 Stéphane Degout (baritone) Camillo Radicke (piano) FRI 24 Igor Levit Variations Series: SUN 03 Ian Bostridge (tenor) / Igor Levit (piano) FRI 16 Ravel Series: Dame Brad Mehldau (piano) (mezzo-soprano) / James Newby THU 14 Simon Bode (tenor) / Igor Levit (piano) MON 27 Igor Levit Variations Series: (baritone) / Joseph Middleton (piano) Igor Levit (piano) FRI 15 Dame Sarah Connolly Residency: WED 21 Samling Showcase JUNE 2019 Dame Sarah Connolly (mezzo-soprano) / WED 28 Christian Gerhaher (baritone) / Julius Drake (piano) SAT 01 Till Fellner (piano) Gerold Huber (piano) SUN 17 Renata Pokupić (mezzo-soprano) / Katya Apekisheva (piano) THU 06 THU 29 Russian Series: Justina Gringyte La Serenissima / Adrian Chandler THU 13 The Bach Odyssey: Angela (mezzo-soprano) / Dmytro Popov (tenor) (director, violin) Hewitt (piano) / Iain Burnside (piano) THU 21 Christoph Prégardien (tenor) / TUE 18 Sergei Babayan (piano) DECEMBER 2018 Ensemble Pentaèdre FRI 21 Alexander Melnikov Residency: SAT 01 Marlis Petersen Residency: SUN 24 Nathan Gunn (baritone) / Alexander Melnikov (piano) Marlis Petersen (soprano) / Julie Gunn (piano) Die Kölner Akademie SAT 29 Fundraiser concert for Save a Child’s MON 25 Paul Appleby (tenor) / Heart: Evgeny Kissin (piano) TUE 04 Soile Isokoski (soprano) / Malcolm Martineau (piano) Ilkka Paananen (piano)

02 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 APRIL 2019 Sunday Morning JULY 2019 MON 01 Ekaterina Semenchuk (mezzo-soprano) SUN 07 Smetana Trio TUE 02 Royal Academy of Music Song Circle Coffee Concerts SUN 14 Maxim Bernard (piano) THU 04 (bass) / Tom Poster (piano) SEPTEMBER 2018 SUN 21 Calidore String Quartet SUN 07 Milan Siljanov (bass baritone) / SUN 09 Doric String Quartet SUN 28 Chiaroscuro Quartet Nino Chokhonelidze (piano) SUN 16 Wihan Quartet MON 08 Christina Landshamer (soprano) / SUN 23 (cello) Gerold Huber (piano) Early Music & SUN 30 Hermès Quartet THU 11 Sally Matthews (soprano) / Baroque Series Simon Lepper (piano) OCTOBER 2018 SAT 13 Schubert Cycles: Ian Bostridge (tenor) / SUN 07 Adrian Brendel (cello) / SEPTEMBER 2018 Sir Antonio Pappano (piano) Christian Ihle Hadland (piano) SUN 09 La Serenissima / Adrian Chandler (director, violin) SUN 14 Gavan Ring (baritone) / SUN 14 Jennifer Pike (violin) Simon Lepper (piano) SUN 21 Quatuor Voce TUE 18 Classical Opera MON 15 Schubert Cycles: Ian Bostridge (tenor) / SUN 28 Emma Johnson (clarinet) / THU 27 The Cardinall’s Musick Sir Antonio Pappano (piano) Finghin Collins (piano) OCTOBER 2018 WED 24 The Kathleen Ferrier Awards 2019 NOVEMBER 2018 MON 01 Bach Harpsichord Works: Semi-Final SUN 04 Music in the Round Mahan Esfahani (harpsichord) WED 24 Schumann Song Series: Robin Tritschler SUN 11 Daniel Lebhardt (piano) MON 08 Freiburg Baroque Orchestra / (tenor) / Paula Murrihy (mezzo-soprano) Sandrine Piau (soprano) SUN 18 Parker String Quartet / Malcolm Martineau (piano) MON 15 Richard Egarr (harpsichord) SUN 25 Aquinas Piano Trio FRI 26 The Kathleen Ferrier Awards 2019 Final SUN 21 Ensemble Correspondances Residency DECEMBER 2018 TUE 30 Marcus Farnsworth (baritone) / WED 24 Dame Sarah Connolly Residency: Vadym Kholodenko (piano) James Baillieu (piano) SUN 02 Tenebrae Consort / Dame Sarah MAY 2019 SUN 09 Benjamin Baker (violin) / Connolly (mezzo-soprano) Daniel Lebhardt (piano) SUN 05 Paula Murrihy (mezzo-soprano) / SUN 28 The English Concert SUN 16 Novus String Quartet Malcolm Martineau (piano) WED 31 L’Arpeggiata SUN 23 Quatuor Arod MON 06 Ravel Series: Clara Mouriz (mezzo- NOVEMBER 2018 soprano) / Roderick Williams (baritone) / SUN 30 RTÉ Contempo Quartet / Florilegium Joseph Middleton (piano) Arcadia Quartet MON 05 THU 08 Vox Luminis Residency SUN 12 Sumi Jo (soprano) / JANUARY 2019 TUE 20 The English Concert Gary Matthewman (piano) SUN 06 Rolston String Quartet DECEMBER 2018 SUN 26 Jacques Imbrailo (baritone) / SUN 13 Hyeyoon Park (violin) Alisdair Hogarth (piano) FRI 07 Arcangelo SUN 20 Israeli Chamber Project / SUN 26 Robin Tritschler Residency: Robin Antje Weithaas (violin) TUE 11 La Nuova Musica / Lucy Crowe (soprano) Tritschler (tenor) / Simon Lepper (piano) SUN 27 Borodin Quartet SAT 15 Bach Harpsichord Works: JUNE 2019 Mahan Esfahani (harpsichord) FEBRUARY 2019 SUN 02 Graham Johnson – Songmakers’ SAT 22 Avi Avital (mandolin) / SUN 03 Zahir Quartet (saxophone quartet) Almanac: Graham Johnson (piano) Venice Baroque Orchestra SUN 10 Narek Hakhnazaryan Series: TUE 04 Camilla Tilling (soprano) / MON 31 Dunedin Consort Narek Hakhnazaryan (cello) Paul Rivinius (piano) JANUARY 2019 SUN 17 Trio Isimsiz WED 05 Maximilian Schmitt (tenor) / FRI 04 The King’s Consort / SUN 24 Albion String Quartet Gerold Huber (piano) (countertenor) MARCH 2019 SUN 09 Julia Kleiter (soprano) THU 17 The Sixteen SUN 03 Kronberg Academy SAT 15 Gerald Finley (baritone) / TUE 29 Les Arts Florissants / Julius Drake (piano) SUN 10 Nash Ensemble William Christie (director) WED 19 Leeds Lieder Fundraising Gala SUN 17 Esther Yoo (violin) WED 30 The Cardinall’s Musick SAT 22 Franz-Josef Selig (bass) / SUN 24 Dover String Quartet FEBRUARY 2019 Gerold Huber (piano) SUN 31 Horszowski Trio THU 07 Sonia Prina (contralto) MON 24 Matthias Goerne (baritone) APRIL 2019 THU 14 Stile Antico WED 26 Matthias Goerne (baritone) SUN 07 Tesla String Quartet THU 21 Les Talens Lyriques JULY 2019 SUN 14 Alexandra Dariescu (piano) THU 28 Dame Emma Kirkby (soprano) TUE 02 Schubert Cycles: Ian Bostridge (tenor) / SUN 21 Kelemen String Quartet 70th Birthday Concert Lars Vogt (piano) SUN 28 Ning Feng (violin) / MARCH 2019 WED 03 Brett Polegato (baritone) / Thomas Hoppe (piano) Iain Burnside (piano) WED 06 Florilegium MAY 2019 The English Concert THU 04 Schubert Cycles: Ian Bostridge (tenor) / FRI 08 Lars Vogt (piano) SUN 05 Jan Vogler (cello) WED 13 Die Kölner Akademie / Castalian String Quartet Mahan Esfahani (harpsichord) WED 10 Ilker Arcayürek (tenor) / SUN 12 Simon Lepper (piano) SUN 19 Jonathan Plowright (piano) WED 20 Vox Luminis Residency THU 18 Werner Güra (tenor) / SUN 26 Sheku Kanneh-Mason (cello) / WED 27 The King’s Consort Christoph Berner (piano) Isata Kanneh-Mason (piano) SAT 30 Bach Harpsichord Works: TUE 23 Dame Sarah Connolly Residency: JUNE 2019 Mahan Esfahani (harpsichord) Dame Sarah Connolly (mezzo-soprano) / SUN 02 Daniel Pioro (violin) / APRIL 2019 Malcolm Martineau (piano) Roderick Chadwick (piano) WED 03 London Handel Players WED 24 Mark Padmore (tenor) / SUN 09 Hugo Wolf Quartett FRI 05 Arcangelo Paul Lewis (piano) SUN 16 Heath Quartet TUE 16 Solomon’s Knot FRI 26 Simon Keenlyside (baritone) / Matthew SUN 23 Andrew Tyson (piano) The Sixteen Regan (piano) / Howard McGill WED 17 Vision String Quartet (woodwind) / Richard Pryce (double SUN 30 SAT 20 Trio Mediæval bass) Gordon Campbell () / Mon 22 Ensemble Correspondances Residency Mike Smith (drums) THU 25 Orlando Consort

FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 03 MAY 2019 MARCH 2019 OCTOBER 2018 SAT 04 Akademie für Alte Musik Berlin MON 04 Mariam Batsashvili (piano) SUN 7 François-Frédéric Guy (piano) TUE 28 L’Arpeggiata MON 11 Belcea String Quartet MON 15 Nicholas Daniel (oboe) / JUNE 2019 MON 18 Jeremy Denk (piano) Charles Owen (piano) FRI 7 Cinquecento MON 25 Novus String Quartet THU 18 Jeremy Denk (piano) TUE 11 The English Concert APRIL 2019 SUN 21 Quatuor Voce WED 12 Stile Antico MON 08 Katarina Karnéus (mezzo-soprano) / FRI 26 Andrew Watts (countertenor) / Iain Burnside (piano) THU 20 The Cardinall’s Musick Julius Drake (piano) MON 29 Thibaut Garcia () SUN 23 Ensemble Marsyas MON 15 Tabea Zimmerman (viola) TUE 30 Nicolas Hodges (piano) THU 27 La Nuova Musica MON 22 Pavel Haas Quartet NOVEMBER 2018 JULY 2019 MON 29 Julian Prégardien (tenor) TUE 13 Artemis Quartet MON 01 Rachel Podger (violin) MAY 2019 WED 14 Baiba Skride (violin) / Lauma Skride Ensemble Correspondances Residency MON 06 The King’s Singers FRI 05 (piano) / Trio Palladio (piano trio) / Gould Piano Trio MON 08 Classical Opera MON 13 Antonina Suhanova (piano) MON 20 Andreas Haefliger (piano) TUE 09 Bach Harpsichord Works: THU 15 Belcea Quartet Mahan Esfahani (harpsichord) MON 27 Kuss Quartet SUN 25 Anthony Marwood (violin) / THU 11 Max Emanuel Cenčić (countertenor) / JUNE 2019 Susan Tomes (piano) / Aleksandar Ensemble Desmarest / Ronan Khalil MON 03 Ilya Gringolts (violin) / Peter Laul (piano) Madžar (piano) / Richard Lester (cello) / (harpsicord, organ, leader) MON 10 Jean Rondeau (harpsichord) Doric String Quartet SAT 13 Vox Luminis Residency MON 17 Nicolas Altstaedt (cello) MON 26 Silke Avenhaus (piano) / SAT 27 Le Concert Spirituel Tai Murray (violin) MON 24 Christopher Maltman (baritone) MON 26 Arditti Quartet / JULY 2019 Paul Cannon (double bass) BBC Lunchtime Concerts Colin Currie Quartet MON 01 FRI 30 Alina Ibragimova (violin) / SEPTEMBER 2018 MON 08 Imogen Cooper (piano) Cédric Tiberghien (piano) MON 10 Ilker Arcayürek (tenor) / MON 15 István Várdai (cello) /Sunwook Kim (piano) DECEMBER 2018 Ammiel Bushakevitz (piano) MON 10 Augustin Hadelich (violin) / MON 17 Trio Mediæval Wigmore Lates Charles Owen (piano) MON 24 Lucy Crowe (soprano) / THU 20 Andreas Scholl (countertenor) / Joseph Middleton (piano) MAY 2019 Tamar Halperin (piano) FRI 03 Anne Sofie von Otter (mezzo-soprano) OCTOBER 2018 JANUARY 2019 FRI 31 Amaan Ali Bangash (sarod) / Ayaan Ali MON 01 Chiaroscuro Quartet / SAT 19 Alina Ibragimova (violin) / Bangash (sarod) Annelien Van Wauwe (clarinet) Cédric Tiberghien (piano) MON 08 Catriona Morison (mezzo-soprano) / JUNE 2019 MON 21 Leila Josefowicz (violin) / Yuka Beppu (piano) FRI 14 Viktoria Mullova (violin) John Novacek (piano) MON 15 Nicholas Daniel (oboe) / FRI 21 Chineke! Orchestra TUE 22 François Le Roux (baritone) / Charles Owen (piano) FRI 28 Sean Shibe (guitar) Olivier Godin (piano) MON 22 Karina Gauvin (soprano) / JULY 2019 MON 28 Simon Höfele (trumpet) / Frank Dupree (piano) Maciej Pikulski (piano) FRI 05 Ensemble Correspondances Residency FEBRUARY 2019 MON 29 Thibaut Garcia (guitar) Fri 12 James Newby (baritone) / NOVEMBER 2018 Adam Walker (flute) / Sean Shibe (guitar) MON 11 François-Frédéric Guy (piano) MON 05 Aleksey Semenenko (violin) / / Owen Gunnell (percussion) FRI 22 Elias String Quartet Inna Firsova (piano) FRI 19 Susan Bullock (soprano) MARCH 2019 MON 12 Jonathan Biss (piano) SUN 03 Ian Bostridge (tenor) / MON 19 Roberta Invernizzi (soprano) / Jazz Series: Brad Mehldau (piano) Craig Marchitelli (lute) / Franco Pavan TUE 05 Sir George Benjamin Focus: Ensemble (lute) / Rodney Prada (viola da gamba) SEPTEMBER 2018 Modern / Sir George Benjamin MON 26 Tai Murray (violin) / TUE 11 Joshua Redman (saxophone) / (conductor) / Anu Komsi (soprano) / Silke Avenhaus (piano) Ola Kvernberg (violin) Helena Rasker (contralto) DECEMBER 2018 MARCH 2019 WED 06 Sir George Benjamin Focus / MON 03 (piano) SUN 03 Ian Bostridge (tenor) / Wigmore at the Roundhouse: Brad Mehldau (piano) Ensemble Modern Orchestra / MON 10 Augustin Hadelich (violin) / Sir George Benjamin (conductor) Charles Owen (piano) MAY 2019 MON 25 Paul Appleby (tenor) / MON 17 Ensemble Zefiro FRI 31 Jason Moran (piano) Malcolm Martineau (piano) JULY 2019 JANUARY 2019 APRIL 2019 SUN 14 Django Bates (piano) MON 07 Alexander Gavrylyuk (piano) SAT 06 Complete Elliott Carter String Quartets: MON 14 Juilliard String Quartet FRI 26 Simon Keenlyside (baritone) / JACK Quartet Howard McGill (woodwind) / Gordon MON 21 Leila Josefowicz (violin) / TUE 09 The Chamber Music Society Campbell (trombone) / Richard Pryce John Novacek (piano) of Lincoln Center (double bass) / Matthew Regan (piano) / Simon Höfele (trumpet) / MON 28 Mike Smith (drums) WED 10 Escher String Quartet Frank Dupree (piano) FRI 12 Nash Ensemble / Claire Booth (soprano) FEBRUARY 2019 Contemporary Music MAY 2019 MON 04 Sophie Pacini (piano) MON 13 Gould Piano Trio MON 11 François-Frédéric Guy (piano) SEPTEMBER 2018 FRI 24 Igor Levit (piano) MON 18 Kitty Whately (mezzo-soprano) / THU 13 Pekka Kuusisto (violin) MON 27 Kuss Quartet Simon Lepper (piano) FRI 21 James Ehnes (violin) / MON 27 Igor Levit (piano) MON 25 Quatuor Arod (string quartet) Andrew Armstrong (piano) SUN 23 Heath Quartet SUN 30 Hermès Quartet

04 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 THE AMERICAN SERIES: © Shervin Lainez JOURNEYS IN THE NEW WORLD

Finding a symbolic soundworld for America, ‘the home of the brave’, immediately suggests something the States was Dvořák’s goal when he on a symphonic scale. And, fittingly, the country’s great plains, journeyed there in the early 1890s. He had been appointed artistic director lakes and ranges have inspired music of epic proportions. Yet and professor of composition at the an alternative, equally audacious repertoire of chamber music National Conservatory of Music, based in has stemmed from the USA, which will be explored in a series of New York. ‘I am to show them the way into the Promised Land’, he wrote to a concerts across the 2018/19 Season at Wigmore Hall. friend, ‘the realm of a new, independent art, in short a national style of music!’. Screen. The deep connections between of his Third Quartet (1971) and, finally, in Following his own practice in Bohemia, Bernard Herrmann’s expressive soundtracks the Fourth Quartet (1986), where Dvořák encouraged his pupils to explore for Alfred Hitchcock in the 1950s and the intricacies of style finally resolved into a indigenous music, as he did himself in his music of European modernism certainly continuous line. To hear these works F major ‘American’ Quartet. underline an ongoing dialogue between the complete, performed by the US-based But , who was born in New World and the Old. JACK Quartet next May, will offer a rare Connecticut in 1874, was already deeply The pre-war scores of Berlin, Vienna insight into one of the fiercest musical rooted in Dvořák’s brand of Romanticism. and Paris had a similarly marked impact minds of the recent past. And today, still, And Ives became particularly adept at on Elliott Carter. Yet while his First String with both Philip Glass and Andrew Norman evoking an idealised American landscape, Quartet, completed in 1950, showed reimagining what the string quartet can drawing on both vernacular music and a debt of gratitude to figures such as achieve, the innovative practice of the Protestant hymns of his youth, as is Bartók, Berg and Nancarrow, it likewise America’s chamber repertoire looks set apparent throughout his First String Quartet announced a fresh pioneer. And that unique to continue well into the future. of 1898–1902. And while ‘The Call of the musical personality was confirmed by the Gavin Plumley, Writer and Broadcaster Mountains’, the Finale to his Second String composition of Carter’s Second String Quartet of some 10 years later, equally Quartet or what he called his ‘belated conjures an expansive homeland, Ives’s arrival in American musical life’. evolving idiom reveals a more innovative Arrival was not to be conclusion, response to this source of inspiration. however, and Carter continued to evolve his Just as Ives drew on the sounds of marque of musical logic, in both the collages New England, so others responded to contrasting elements within America’s diverse musical life. Gershwin’s apprenticeship in Tin Pan Alley not only left its mark on his show tunes, but also on his ‘serious’ instrumental works, such as the 1919 Lullaby. In turn, these beguiled those who visited the USA, including Ravel, who was especially praiseworthy of Gershwin’s talents. But as well as jazz, it was the music of those European visitors, including Central European émigré Korngold, that provided the sonic blueprint for Hollywood’s Silver

MAIN IMAGE JACK Quartet

FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 9 Politics, nationhood and echoes of ancestral voices flow through the music ofLeoš Janáček. Thomas Adès and the Pavel Haas Quartet probe the Czech composer’s strikingly original instrumental works in two concerts at Wigmore Hall next season.

Music and national identity were inseparable for Leoš Janáček. The Czech composer was raised at a time when the power of ideas,

the free flow of individual creativity, and the Borggreve © Marco spirit of revolution were demolishing ancient ideals of universal order and absolute values, an enormous upheaval in western thought, the consequences of which remain in play today. His patriotism was essential to his music. While melodies inspired by Moravian folk music and the music of spoken Czech course through Janáček’s work like the great river Vltava, they never sound parochial or narrowly local; rather, they speak to the heart of what it is to belong, to be part of a place, a community, a culture and yet be open to the world. CZECH SOUL Wigmore Hall is set to explore Janáček’s works for solo piano and for string quartet in two concerts next season. The first, performed by Thomas Adès on Sunday 9 December 2018, includes pieces deeply rooted in the sights and sounds of Moravia, one of the historical Czech lands, together with ‘From the Street’, written in response to the death of a carpenter bayonetted by government forces in October 1905 while demonstrating for the creation of a Czech university in Brno. The second concert, given by the Pavel Haas Quartet on Monday city’s German college, he grew to resent 10 December, places Janáček’s two string the dominance of German as the official MAIN IMAGE Pavel Haas Quartet quartets in company with Smetana’s String language of the Czech lands; in later life Quartet No. 2, visionary works that stand he would refuse to board a tram if its ‘Thomas Adès’s recital as enduring emblems of Czech culture and destination was stated in German rather creative genius. than Czech. underlines the radical nature Janáček was born in 1854 in the village Thomas Adès’s recital underlines of Janáček’s amusical of Hukvaldy, now in the , the radical nature of Janáček’s musical language, its closeness to then part of the sprawling Austro- language, its closeness to the subtle speech Hungarian empire. Young Leoš, the fifth of melody of colloquial Czech, and the volatile the subtle speech melody nine children, left the overcrowded family textures and tonalities of his keyboard of colloquial Czech, and the home in 1865 to become a chorister at writing. It also opens broader perspectives the Augustinian ‘Queen’s’ Monastery in on Czech nationalism and politics. The volatile textures and tonalities Brno. Although he received lessons at the programme’s first half sets the early of his keyboard writing.’

10 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 Na památku (In memoriam), written in the late 1880s, together with the first book of On an overgrown path – short pieces that recall IN THE NEWS the composer’s childhood in Hukvaldy – and the piano sonata 1.X.1905 ‘From the Street’. Janáček inscribed the latter’s published score with a clear message of defiance: ‘The white marble of the steps of the Besední dům in Brno. The ordinary labourer František Pavlík falls, stained with blood. He came merely to champion higher learning and has been slain by cruel murderers.’ The second half opens with book two of On an overgrown path and moves to a sequence of short pieces: Christ, the Lord, is risen, Malostranský palác and Vzpomínka (Reminiscence). Adès, who has recorded IMAGE Chairman of Wigmore Hall, Aubrey Adams receives his and written about Janáček’s piano music, OBE from Her Majesty The Queen at Windsor Castle in December closes with In the Mists, the greatness of which he describes as resting in its ‘very claustrophobia, an austerity of means affecting every aspect of the music’. The solo piano, notes Adès, ‘becomes a narrow COUNT DOWN TO THE WIGMORE HALL space with four solid walls’. In the Mists, written in the winter of 1912-13, captures the INTERNATIONAL STRING QUARTET COMPETITION, private Janáček, introspective and simple in 10-15 APRIL 2018 the finest sense of the word. As the competitors make their final preparations, Russian and Slavic literature influenced here are some insights into this year’s competition. many of Janáček’s instrumental works. Tolstoy’s short novel The Kreutzer Sonata - 24 entries – with its theme of an extra-marital affair - The Quartets are based in only eight different countries, between a violinist and an aristocratic but feature 19 different nationalities woman, the latter murdered by her husband - Youngest entrant is 19, oldest is 34 with a Damascus dagger – chimed with Janáček’s personal life: his own marriage - Average age is 27 was already on the rocks when he fell in - Haydn Op. 76 No. 5 was the most recorded love, obsessively so, with Kamila Stösslová, Haydn quartet for the application stage wife of an antiques dealer and 37 years - Haydn Op. 33 No. 1 is the most popular his junior. The emotions aroused by Haydn choice for the Preliminary Round Tolstoy’s story surface in his String Quartet No. 1 of 1923. Janáček weaves - Mozart K387 and K465 are the most popular a fragmentary melody from the first Mozart choices for the Preliminary Round movement of Beethoven’s Violin Sonata - Bartók No. 6 is the most chosen 20th-century quartet for No. 9 ‘The Kreutzer’ into his quartet’s the Preliminary Round, closely followed by Janáček No. 1 brooding third movement. Janáček’s String Quartet No. 2, - Beethoven Op. 59 No. 2 has been chosen by nine quartets completed seven months before his death, for the Semi-final Round; a further seven have chosen Op. 132 pays homage to Kamila, his muse, ‘hoped - For the first time in several Competitions, the Debussy and Ravel for wife’ and rejuvenating life force. The quartets are not the most chosen pieces for the Final; Brahms No. 2 piece grew from a violent argument and Schubert ‘Death and the Maiden’ are equally popular this year. between the Janáčeks on New Year’s Day - One new Prize: The Alan Bradley Prize for the best interpretation 1928 and Kamila’s wish that her of a Mozart Quartet relationship with Janáček be made public. ‘Intimate Letters’ echoes imagined and real - The selected quartets and the countries where they are based are: events in the composer’s affair with Callisto Quartet (USA), Eliot Quartett (Germany), Esmé Quartet Kamila: the third movement, for instance, (Germany), Gildas Quartet (UK), Goldmund Quartett (Germany), portrays the day ‘when the earth trembled’, Idomeneo Quartet (UK/Switzerland/Spain), Marmen Quartet (UK), the moment when Janáček’s declarations Quartet Amabile (), Quatuor Tchalik (France), Solem Quartet of love were accepted in silence, not (UK), Vera Quartet (USA) and Viano Quartet (USA) brushed off. ‘Oh, it’s a work as if carved PRELIMINARY ROUND 10-13 APRIL AT THE ROYAL ACADEMY out of living flesh,’ he wrote to Kamila OF MUSIC, SEMI-FINALS 14 APRIL AND FINAL 15 APRIL, following the quartet’s first private BOTH AT WIGMORE HALL. performance. ‘I think that I won’t write a more profound and truer one.’

FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 11 IAN BOSTRIDGE Clark © Sim Canetty EXPLORES THE SCHUBERT SONG CYCLES WITH CELEBRITY PIANISTS

Schubert was a musician’s musician but by no means a virtuoso. Trained as a choirboy, an enthusiastic string player in the family circle, he was no Beethoven, Mozart or Britten at the keyboard. For portions of his professional life as a composer he lacked consistent access to a piano.

He wrote only one determinedly bravura to be a Romantic sine qua non; but when Yet new approaches at the piano are also showpiece for the instrument, his “Fantaisie Schubert died prematurely at 31, some of his bound to be revealing. At Wigmore Hall in pour le Piano-Forte” (D760, 1822) now friends could only regret that he had devoted the coming season, I shall be performing the better known as the “Wanderer Fantasy”; so much of his energy to the lowly Lied. cycles with three very different and and Schubert’s friends reported an occasion It was the reinvention of the keyboard that extraordinary pianists, long term partners, when the composer was playing the piece made Schubert the progenitor of the newly all of them better known for doing for them, came adrift in the last movement, empowered genre of Lied. The pianoforte something else. Lars Vogt brings a deep jumped up and declared “Let the devil play that was coming into being in the course of knowledge of the solo repertoire of that stuff”. Virtuosity was indeed quite firmly his lifetime allowed for a dynamic subtlety, a Beethoven and Schubert to bear on a series connected with diabolism, in the of songs, Schwanengesang, world of imaginative literature, many of which are an explicit and in metaphorical responses hommage to the older © Brian Voce to the extraordinary violin playing composer. Thomas Adès © Giorgia Bertazzi © Giorgia of the legendary Paganini. views with a The Wanderer Fantasy is creator’s eye and ear, reaching named after the song (“Ich back into the manuscript and komme vom Gebirge her ..”) EMI Classics & Ianniello © Musacchio finding new emphases and which provides the theme for new sonorities. Finally, Tony the second movement variations which wealth of colour and a psychological depth Pappano, with the structural sense of a in turn supply the motif which generates which transformed the status of song. symphonic conductor and a legendary the whole, distinctly un-Beethovenian, I am often asked what keeps me fascinated response to voices, and with whom I’ve exercise. From 1822 on, Schubert the with Schubert Lieder, and especially with the sung Wolf, Britten, Mozart and so much composer concentrated his solo pianistic three song cycles which I have performed else, will play Die schöne Müllerin with me fire on conquering the summits of the so many times over the past 20 years at for the first time, something I look forward four movement sonata, which Beethoven Wigmore Hall and elsewhere. Of course to with immense anticipation. had confirmed as one of the lodestars of the music itself is endlessly fascinating and Ian Bostridge, tenor the classical repertoire. As the Wanderer multifaceted, renewing itself endlessly at every Fantasy ironically hints, however, it was for approach. A new perspective on the words, the distinctly inferior genre of song that the be it long achieved or a sudden epiphany, can MAIN IMAGE Ian Bostridge ABOVE LEFT Thomas Adès bulk of Schubert’s piano writing was made. reinvigorate. Study – contextual, historical, or ABOVE MIDDLE Sir Antonio Pappano We know in retrospect that the Lied was diversionary – inspires. ABOVE RIGHT Lars Vogt

12 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 Alastair Storey and his catering team have transformed Wigmore Hall’s restaurant in recent years. He reflects on the joys ofsharing food and music and invites all to explore the restaurant’s menu of seasonal British delights.

Not long ago fine dining and concert-going were incompatible experiences, separated by ingrained attitudes to hospitality and the sovereignty of sandwiches. Wigmore Hall’s restaurant has blazed a trail in recent years, proving that excellent food can be created and served in style in the hour before a performance. The deal, delivered by BaxterStorey, one of the country’s leading caterers to industry and business, has set new standards for those in search of an affordable lunch in the West End or a two-course evening meal tailored to suit the concert timetable. Alastair Storey OBE, Chairman of BaxterStorey parent company Westbury Street Holdings, has led a revolution in the world of catering. His passion for every aspect of the hospitality business, from training its people to preparing its products, runs through the BaxterStorey brand like a star ingredient in a gourmet recipe. It continues to grow, he notes, thanks to the diversity and quality of British cuisine. The pursuit of excellence matters to Alastair Storey. After early experience with P&O’s A MAN FOR ALL

Sutcliffe Catering Services and Granada Food Services, the young Scot launched his own business in 2000 and has since steered its impressive growth as chairman and Chief SEASONS Executive Officer. When Wigmore Hall called, he was inspired by the prospect of providing the stress out of having a meal and then wonderful example. He cares about every a catering service to match the quality of the enjoying a beautiful concert.” Wigmore Hall’s detail and gives us regular feedback.” Hall’s artistic programme. restaurant is hallmarked by the BaxterStorey Customer satisfaction, the ultimate measure BaxterStorey won the Wigmore Hall focus on fresh, seasonal British food. The of successful hospitality, is top priority for catering contract in 2010. “We got our menu changes four or five times a year and Wigmore Hall’s restaurant staff. They are arms round the business quite quickly,” offers a list of daily specials. “We think about backed by BaxterStorey’s commitment to Storey recalls. His company made a major what the customer would like and work from in-house training and promotion. “We’re a investment in kitchen equipment and in staff there,” observes Alastair Storey. people-orientated business,” concludes recruitment and training. “Wigmore Hall has BaxterStorey’s boss recognises the Alastair Storey. “If you’re only concerned a phenomenal reputation and didn’t get it restaurant’s place within the wider world of about sell, sell, sell, you lose that spirit. It costs without striving for excellence in every field. Wigmore Hall and welcomes the process of nothing extra to be kind and helpful. What I We felt a strong affinity between their world dialogue between the Hall and his company. want to hear people saying is that they had a of music and our world of hospitality. When “It’s a two-way street,” he observes. “We’ve brilliant experience of going to Wigmore Hall, you go to a concert after work, there’s time always felt a phenomenal connection with that they had a great meal, were taken care of pressure to eat beforehand. The speed of them. The great thing is that nobody at and heard a wonderful concert. That’s when service is a critical part of our relationship Wigmore Hall is too grand to be involved. you know you have a great enterprise.” with Wigmore Hall. It’s our job to take John Gilhooly, the Hall’s Director, is a Alastair Storey OBE was talking to Andy Stewart

FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 13 CONNECTING PEOPLE THROUGH MUSIC Wigmore Hall Learning gives people of all ages, backgrounds and abilities opportunities to take © Benjamin Ealovega part in creative music making. We lead a wide range of innovative projects and events, both in the community and at Wigmore Hall, for young children, families, schools, young people and adults.

We believe that everyone should have the opportunity to take part in music making, and the spirit of chamber music lies at the heart of all that we do: making music together as an ensemble, with every voice heard and equally valued.

Early Years and Families Regular events at Wigmore Hall to engage babies, children and families with music Community Pathways and encourage a culture of music making A wide-ranging programme, including social A programme of training and development at home. These include interactive and and creative music activities for children opportunities for emerging musicians. Last inspiring workshops and music-making and young people while they are in hospital; year this included schemes for: sessions, as well as concerts specifically opportunities for young people with Autism • Trainee Music Leader for families with babies and young children. Spectrum Conditions to engage with art and • RPS Apprentice Composer Last year: music making; and regular creative music • Royal Academy of Music Fellowship • 4,804 children and their parents/carers activity with the Cardinal Hume Centre, Ensemble took part in our Family programme supporting people who have experienced homelessness. Last year: Digital Schools and Young People • 1,188 children, young people and adults Concerts and study events are now live- Work with schools, including our Partner took part in our Community programme streamed on our website, and digital Schools Programme, in which we work in resources related to each school’s concert partnership with primary schools and Music Music for Life and project are now produced and Education Hubs to co-produce activity over Our pioneering programme which aims stored online. Last year: three years, as well as an open programme to improve the quality of life and care for • 133,515 people viewed Learning live of concerts, workshops and teacher people living with dementia through creative streams and videos training. We also provide free concert music workshops and concerts, and training tickets for school groups and young people for musicians and care staff. Most recently Learning Festival aged 8 to 25 through the Chamber Zone we have launched a choir for people living Each season, Wigmore Hall Learning scheme, and offer a wide range of projects with dementia and their friends and carers, celebrates its work in a themed festival, and events created by, with and for young ‘ with Friends’. Last year: holding a range of events at the Hall people. Last year: • 349 people living with dementia and exploring repertoire and creating new • 4,371 children, young people and their friends, families and carers took music inspired by the festival’s theme: teachers took part in the Schools part in Music for Life • In 2017/18, Seven Ages explored the Programme path from birth to older age, • 1,376 free concert tickets were provided Behind the Music and everything in between through The Chamber Zone scheme A programme of study events, including • In 2018/19, Sense of Home will talks, lecture-recitals, masterclasses, study celebrate London and the City of groups and ‘Come and Sing’ days. Last year: Westminster, whilst exploring what • 5,011 people took part in the Behind the ‘home’ means to different people IMAGE Partner Schools Programme with the Heath Quartet Music programme

14 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 CONNECTING PEOPLE To preview the 2018/19 Season and launch our annual appeal, Wigmore Hall is delighted to offer access to a live recording of an exclusive performance by Vox Luminis THROUGH MUSIC to our Friends and supporters. VOX LUMINIS

2018/19 SEASON PREVIEW AND ANNUAL FUND APPEAL

Each season at Wigmore Hall is the result of your generous donations. Every gift matters. Thank you.

TO DONATE TO THE ANNUAL FUND VISIT WWW.WIGMORE-HALL.ORG.UK/SA1819 TO WATCH THE CONCERT VISIT WWW.WIGMORE-HALL.ORG.UK/NEWS/2018-19-SEASON-PREVIEW

Registered Charity Number 1024838 © Ola Renska FRIENDS OF

Member Friends £50-£114 per year Thank you for being a • Regular advance information about concerts and other events at the Hall Friend of Wigmore Hall • Priority booking for all Wigmore Series concerts and events • Triannual Friends magazine, The Score • Invitations to exclusive events, trips and visits • Dedicated Friends team available to help • 10% discount on Wigmore Hall Live CDs and digital downloads

Supporter Friends £115-£224 per year As Members plus: • Priority booking ahead of Member Friends • Invitations to attend two special receptions each season, around selected concerts at the Hall

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Patron Friends £500+ per year As Benefactors plus: • The highest level of priority booking of all Friends levels • Invitations to attend four special receptions each season, around selected concerts at the Hall Director: John Gilhooly OBE, HonFRAM, HonRCM, HonFGS, HonFRIAM • Invitation to attend the annual Patron Friends Dinner (additional costs apply) 36 Wigmore Street, London W1U 2BP www.wigmore-hall.org.uk • Named credit in all Wigmore Series evening Box Office Tel: 020 7935 2141 concert programmes The Wigmore Hall Trust, Registered Charity Number 1024838

Please note all memberships can be paid for across 10 months by Direct Debit. For any further information on the different levels of Friends membership please contact the Friends Office on 020 7258 8230 and we will be happy to help.

All Friends contributions are considered charitable donations and are eligible for Gift Aid where applicable. Registered Charity Number 1024838 Design and print www.graphicimpressions.co.uk

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