STRAUSS JOSEPH PHIBBS STRAVINSKY

ND 62 SEASON MONDAY 9 OCTOBER 2017 2017/18 ST JOHN’S SMITH SQUARE STRAUSS Till Eulenspiegels lustige Streiche

JOSEPH PHIBBS Rivers to the Sea

Interval 20 minutes STRAVINSKY The Rite of Spring

RUSSELL KEABLE Conductor ALAN TUCKWOOD Leader

MONDAY 9 OCTOBER 2017 7.30PM ST JOHN’S SMITH SQUARE LONDON

COVER IMAGE: The Joffrey Ballet performs The Rite of Spring to mark the work’s 100th anniversary in 2013. Photo: © Roger Mastroianni; courtesy of the Joffrey Ballet, Chicago

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

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

St John’s Smith Square Charitable Trust: registered charity no. 1045390; registered in England; company no. 3028678. KSO: Registered charity no. 1069620 TONIGHT’S PROGRAMME two motifs that appear at a beginning: the freely. formthe very The work is unified by depict Till’s various adventures. But he treats alternatesidea with differentthat episodes Strauss rondo uses form, arecurring in which erainorchestralopened anew technique. instrument.writing that This wasvirtuoso understanding of nature the of each players to limits, their but with adeep orchestra he had yet it used, pushed the his previous works. Scored for largest the offree any of heavier the Wagnerism of It shows anew, lighter sideof composer, the order conceived inasingle burst of inspiration. masterpiece,perfect awork of highest the fourth tone and is perhaps poem his most Eulenspiegel’s pranks) was Strauss’s merry Till Eulenspiegels lustige Streiche (Till Wüllner inNovember inCologne that year. performance conducted being by Franz and completed inMay first 1895,the worked on during winter the of 1894-95 piece on same the subject, he which and to write decided apurely instrumental In end, the Strauss abandoned opera the European languages were made. soon around 1500and translations into many version of Till’s exploits appeared in of upper the classes. The firstprinted and peasant wit deflatedpompositiesthe clown inGermany, irreverent whose pranks on Till Eulenspiegel, akindof national as he was planning asecond opera based May 1894wounded him deeply, especially Strauss’s first Guntramopera, THE FAILUREof 29-year-old Richard Streiche, Op.28 (1894-95) Till Eulenspiegelslustige RICHARD STRAUSS 4

KENSINGTON SYMPHONY ORCHESTRA

, inMunich in

Till’s final shudder the on flute. depicts graphically on clarinet the with sentenced hanged, to be Strauss which by judge, the trombones. inthe He is clarinet,in the is repeatedly overruled rolldrum Till’s heralding his trial. defence, But end, inthe he is punished, an ominous violin)solo and mimicssome professors. with maidens village (depicted by an ardent mouse hole. Then he a mocks flirts priest, before boots in seven-league hiding ina directions, inall everyone striding away a marketplace, and scattering everything work progresses. First he gallops through Till’s exploits get and as wilder the wilder to catastrophe the Till inwhich is hanged”. anddisguises as situations the moods press on out of whole the texture most inthe varied he –which, episodes said,the “weave inand programme,detailed but he later described At first, Strauss was reluctant giveto a Till on and small the perkyDclarinet. develops to aclimax, and another depicting light-hearted tone and orchestra the which fiendishly difficult solo horn the sets that Strauss’s tonepoemshowshislighterside RICHARD STRAUSS  1864-1949

PHOTO: © RICHARD STRAUSS INSTITUT GARMISCH-PARTENKIRCHEN JOSEPH PHIBBS born 1974

JOSEPH PHIBBS and the Philharmonia gave the first Rivers to the Sea (2012) performance there in June 2012, conducted by Esa-Pekka Salonen, to whom the work is dedicated. It received wide critical acclaim JOSEPH PHIBBS is one of the most successful and Phibbs was recognised with a British composers of his generation, having been Composer Award in 2013. A later performance commissioned by, among others, the London from the Royal Festival Hall was broadcast Symphony Orchestra, the National Symphony live on Radio 3 and the piece has since been Orchestra (Washington, DC) and the BBC played many times both in Britain and abroad. Symphony Orchestra, which premiered his Lumina at the Last Night of in 2003 It is not conceived as a and his Partita, under , last year. ‘ seascape, but the sea Born in London, Phibbs studied composition acts as a driving force at King’s College London and with at Cornell University, New York. He Joseph Phibbs on Rivers to the Sea ’ also studied with Param Vir and , and has taught at the Purcell School, The title comes from a collection of poems King’s College London and the University of by the New York-based writer Cambridge. More recent commissions include (1884-1933), some of whose texts Phibbs had a clarinet concerto and a chamber opera. “His already set. Lasting around 25 minutes, it was output operates at a consistently high level of the largest orchestral work he had written. imagination and engagement,” one critic said. “Although the work is not conceived as Rivers to the Sea was commissioned by the a seascape in a conventional sense,” the and Anvil Arts for the composer says, “the presence of the sea acts 18th anniversary of the Anvil in Basingstoke, as a driving force… the structure corresponds loosely to traditional symphonic form, each movement set in a contrasting tempo: slow- moderate/fast/slow/very fast. The first and The composer was inspired by New York second movements are linked, as are the third and fourth, with a slow central interlude giving the work an overall three-part structure.” The ‘Nocturne’ has an opening of subliminal beauty, while ‘Night Fugues’, with its closely woven string textures, is thrillingly fast-paced and diverting. Scored for clarinet and strings, the hushed ‘Interlude’ forms the static centre of the work, followed by the inward-looking ‘Dolente’, with its mournful horn solo and chaconne emerging in the harp. The final ‘Neon with Sunrise’ is a blatant celebration

PHOTO: MALCOLM CROWTHERS; © JOSEPH PHIBBS of New York, leading to a radiant ending. 

OCTOBER 2017 5 TONIGHT’S PROGRAMME

IGOR STRAVINSKY brought from the village to imprint his sacred The Rite of Spring (1913) kiss on the new-flowering earth. During this rite, the crowd is seized with mystic terror… “After this uprush of terrestrial joy, the second LIKE HIS FRIEND Pablo Picasso, Igor scene sets a celestial mystery before us. Young Stravinsky became a Modernist icon – and, virgins dance in circles on the sacred hill like Picasso, no one was ever quite sure what amid enchanted rocks; then they choose the he would do next. He studied law before victim they intend to honour. In a moment, becoming a composer (against the advice of she will dance her last dance before the his teacher, Nikolai Rimsky-Korsakov), and his ancients clad in bearskins to show that the big break came when he was commissioned bear was man’s ancestor. Then the greybeards to write a score for the Ballet Russes by Sergei dedicate the victim to the god Yarilo.” Diaghilev. This was The Firebird, which made his name overnight after its first performance [It is] the scratching, in Paris in 1910. Petrushka followed in 1911 and The Rite of Spring (Le sacre du printemps) ‘ gnawing, wiggling in 1913. Although Stravinsky composed in a of birds and beasts wide range of genres, his output is dominated by ballet music, which he did more to reinvent Stravinsky on The Rite of Spring ’ for the 20th century than any other composer. Roerich sketched backcloths and designed The idea for The Rite of Spring had come to costumes, while Stravinsky started with Stravinsky several years earlier. “One day, when ‘The Augurs of Spring’. By the following I was finishing the last pages of The Firebird spring, he had reached ‘Glorification of the in St Petersburg, I had a fleeting vision… a Chosen One’. Progress slowed as Diaghilev solemn pagan rite: sage elders, seated in a postponed the first performance from circle, watched a young girl dance herself to 1912 until 1913, but the ‘Sacrificial Dance’ death. They were sacrificing her to propitiate was completed on 17 November 1912. “I the god of spring.” He described the vision remember the day well,” Stravinsky wrote, to his old friend Nicholas Roerich, a talented “as I was suffering from a raging toothache.” painter and one of the greatest authorities on the ancient Slavs. Together, they agreed on the The full score was dated 13 March 1913, and titles and the order of the episodes, working the first performance, in Paris in May of that on a scenario that they completed in July 1911 year, provoked one of the strongest reactions in and which Roerich later sent to Diaghilev. musical history. Shocked by the awkwardness of the dancing and the rhythmic savagery of “As conceived by myself and Stravinsky, my the music, many in the audience screamed object is to present a number of scenes of their disapproval so loudly that the orchestra earthly joy and celestial triumph… the first was drowned out, forcing Vaslav Nijinsky, who set should transport us to the foot of a sacred had choreographed the work, to shout out hill… where Slavonic tribes are gathered to instructions to his dancers from the wings. celebrate the spring rites… there is an old witch who predicts the future, a marriage Harmonically, Stravinsky often superimposes by capture, round dances… the wise elder is chords a semitone apart to create dissonance

6 KENSINGTON SYMPHONY ORCHESTRA IGOR STRAVINSKY 1882-1971

and tension, and although the melodies raised in importance. But the volume that are simple and diatonic, usually containing often assaults the ear is carefully judged, a no more than four different notes, they are highly sophisticated means by which to create constantly rearranged or their time values primitive ends. The only moments of relief are altered to avoid literal repetition. They often two quiet, almost Impressionist introductions; sound like folk tunes but are not, apart from the first, the composer said, “should represent the opening melody at the top of the bassoon’s the awakening of nature, the scratching, register, which is a Lithuanian folk song. gnawing, wiggling of birds and beasts”. Rhythmically, the work is unlike anything Stravinsky made no suite from The Rite of that preceded it. Stravinsky either sets up a Spring; it is always performed complete. And regular pattern that is disrupted by irregular although there have been many stagings, it is accents, as in ‘The Augurs of Spring’, or he in the concert hall that it has established itself breaks up the music into irregular patterns, as one of the most influential works of the calling for almost constant changes of time 20th century. It was born out of some of the signature, as in the final ‘Sacrificial Dance’. strongest emotions in Stravinsky’s life. When he was asked, as an old man, what he had Even Stravinsky did not at first know how loved most in Russia, he replied: “The violent to write this down, although he could play spring that seemed to begin in an hour and it. This combining of simple melodies with was like the whole earth cracking. That was discordantly complex harmony creates great the most wonderful event of every year.”  tension, intensified by the instrumentation. The work is scored for the largest orchestra FABIAN WATKINSON Stravinsky ever used, with the percussion Programme notes: © the author, 2017

Arnold Newman’s famous 1946 photograph of Igor Stravinsky at the piano in New York PHOTO: © ARNOLD NEWMAN PROPERTIES/GETTY IMAGES

OCTOBER 2017 7 ARTISTS’ BIOGRAPHIES Russell KeablehasconductedKSOformorethan30years been associated with KSO,been one of UK’s the George Hurst. For more than 30years, he has of Music with Norman Mar, Del and later with studied conducting at London’s Royal College and King’s College, London University; he Keable trained at University the of Nottingham from Korngold’sscore film for TheSea Hawk . Angeles to led aworld première of music hailed as atriumph, and research inLos Britishthe première Stadt tote of Die champion of music the of Erich Korngold: He has received praise as particular a Oman Symphony Orchestra inDubai. television) and made his debut with Royal the and Paris (filmed by British and French throughout Britain, has conducted inPrague He performs with orchestras and choirs many amonth,” said Musical the Times memorable evenings at for South the Bank wrote Guardian the “Keable and his orchestra didmagnificently,” praised national inthe and international press. musicians. As aconductor, he has been reputation as one of UK’s the most exciting RUSSELL KEABLEhas established a 8

KENSINGTON SYMPHONY ORCHESTRA ; “one of most the was .

use inprisonsuse schools. needs and special music for mime the artist DidierDanthois to premièred inJuly 2000.He composed has also commissioned by Buxton the Festival, was ensembles, Waters and his opera Burning arranger. He has written works for many British Keable indemand is also as acomposer and of conducting at University the of Surrey. programme. He holds of also post the director whom he established an innovative education relationship with with Quartet, Schidlof the fiveOver years, Keable developed a special and international business conferences. schoolchildren to music students, adult groups vividly with audiences of any age, from rarethe of skill able being to communicate dynamic lecturer and workshop leader, with released inNew York. He as a is recognised Simpson,by Robert and CDwas aBeethoven He has made recordings of two symphonies McCabe, Joby Talbot and John Woolrich. David Matthews, Peter Maxwell Davies, John British composers including Robin Holloway, he has firstperformances led of works by finest non-professional orchestras,whomwith RUSSELL KEABLE

Conductor , 

PHOTO: © SIM CANETTY-CLARKE KENSINGTON SYMPHONY ORCHESTRA

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

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

OCTOBER 2017 9 ARTISTS’ BIOGRAPHIES Pimlico Academy, its rehearsal primary home. 2015. It supports also music the programme at than £30,000intotal for War in2013and Child “sponsored play” event, having more raised WestfieldLondon shopping centre for latestits In return February 2018,KSOwill to the partnership with charity the Musequality. training, fundraising and instruments in CONTINUED FROMP9 KSO haschampionedcontemporarymusicthroughoutits60-plus years Smith Square to mark its 300 From the Ether, commissioned by St John’s world première of Stephen Montague’s Awards.Composer In 2014,KSOgave the 3Listeners’Radio Award at British the School under itsSchool KSO Kampala Symphony Orchestra and Music recent years, it has with the developed links charities, musical both and non-musical. In orchestra has since supported many different in aid of Hungarian the Relief Fund, and the charitable aims. Its first concertgiven was From KSOhas held beginning, very the Mind on Doherty his workSeán Hive scheme,Composer collaborating with ofwas part Making Music’s Adopt a orchestra the 2014/15season, the During 10

KENSINGTON SYMPHONY ORCHESTRA 2 programme, providing th anniversary. .

‘ its 60 regularly at CadoganHall, and celebrated Smith Square. The orchestraperforms also KSO’s regular performance venue is St John’s Gourlay, Holly Mathieson and Michael Seal. Nicholas Farnham, Alice Collon, Andrew recently, have these included Jacques Cohen, works with aguest conductor eachyear; musicians Ji Liu and Richard Uttley. KSO Year,the and Young Trust Artists Classical Young 2014BBC the Bartlett, Musician of and-coming artists such as Martin James The orchestra enjoys workingwith up- Matthew Trusler and Richard Watkins. Demidenko, Jean Rigby, Sir John Tomlinson, seasons, soloists have included Nikolai regularly appear with KSO. In recent qualityin the of international artists who The reputation the of orchestra is reflected the Barbicanthe Centre inMay 2017. THE ORCHESTRA brilliant playing A feast of The EveningStandard th anniversary with a gala concert anniversary with at agala ’ 

PHOTO: © SIM CANETTY-CLARKE SUPPORT US FRIENDS’ SCHEME

SUPPORT KSO by joining our popular Friends’ Scheme. PATRONS There are three levels of membership with special benefits. Sue and Ron Astles Kate Bonner Sim Canetty-Clarke FRIEND £65 CWA International Ltd Unlimited tickets at concessionary rates, priority John and Claire Dovey booking, free interval drinks and concert programmes. Bob and Anne Drennan PREMIUM FRIEND £135 Malcolm and Christine Dunmow Mr and Mrs G Hjert One free ticket for each concert, unlimited guest tickets Nick Marchant at concessionary rates, priority booking, free interval Jolyon and Claire Maugham drinks and concert programmes. David and Mary Ellen McEuen PATRON £235 John and Elizabeth McNaughton Two free tickets for each concert, unlimited guest tickets Belinda Murray at concessionary rates, priority booking, free interval Michael and Jan Murray drinks and concert programmes. Linda and Jack Pievsky Neil Ritson and family Kim Strauss-Polman SEE YOUR NAME listed in our concert programmes Keith Waye as a Friend, Premium Friend or Patron, under single or joint names. PREMIUM FRIENDS CORPORATE SPONSORSHIPS are available on David Baxendale request for companies and groups, tailored to your needs. Dr Michele Clement and Dr Stephanie Munn John Dale TO JOIN the Friends’ Scheme, contact David Baxendale Alastair Fraser on 020 8650 0393 or [email protected]. Michael and Caroline Illingworth Maureen Keable Jeremy Marchant Join our Friends’ Scheme and never miss a concert Margot Raybould Richard and Jane Robinson

FRIENDS Anne Baxendale Robert and Hilary Bruce Yvonne and Graeme Burhop George Friend David Jones Rufus Rottenberg Jane Shelton Paul Sheehan Fabian Watkinson

PHOTO: © SIM CANETTY-CLARKE Alan Williams

OCTOBER 2017 11 SUPPORT US SPONSOR OR DONATE

SPONSORSHIP AND DONATIONS Donating through Gift Aid means that KSO Make a difference to KSO can claim an extra 25p for every £1 you give, at no extra cost to you. Your donations will qualify as long as they are not more than YOU, OUR AUDIENCE , can really help four times what you have paid in tax in that us through sponsorship. Anyone can be a financial year. sponsor, and any level of support – from corporate sponsorship of a whole concert to individual backing of a particular section TO SPONSOR KSO, or to find out more, or musician – is enormously valuable call David Baxendale on 020 8650 0393, to us. We offer a variety of benefits to email [email protected] or speak to sponsors, tailored to their needs, such as any member of the orchestra. programme and website advertising, guest tickets and assistance with entertaining. TO MAKE A DONATION, or to As a charity, KSO is able to claim Gift Aid find out more about Gift Aid, email on any donations made to the orchestra. the treasurer at [email protected].

LEAVING A LEGACY then keep you up to date and, if you choose, Support the next generation we can also recognise your support. Any information you give us will be treated in the strictest confidence, and does not form a LEGACIES LEFT to qualifying charities, such binding commitment of any kind. as KSO, are exempt from inheritance tax. In addition, if you leave more than 10% of your estate to charity, the tax due on the rest of TO LEAVE A LEGACY or to find out more, your estate may be reduced from 40% to 36%. speak to your solicitor or contact Neil Ritson, the chair of KSO’s Endowment Trust, on 020 Legacies can be left for fixed amounts 7723 5490 or [email protected]. (“specific” or “pecuniary” bequests) as either cash or shares, but a common way to ensure Choose a KSO musician to sponsor today that your loved ones are provided for is to make a “residuary” bequest, in which the remainder of your estate is distributed to one or more charities of your choice after specific bequests to your family and friends have been met. Legacies, along with conventional donations to KSO’s Endowment Trust, enable us to plan for the next decades of the orchestra’s development. If you include a bequest to KSO in your will, please tell us that you have done so; we can PHOTO: © SIM CANETTY-CLARKE

12 KENSINGTON SYMPHONY ORCHESTRA FIND OUT MORE KSO ONLINE

VISIT US ONLINE All the latest on KSO

GO TO KSO.ORG.UK to keep up to date BOOKMARK OUR WEBSITE: with the orchestra and all our events. You can see the details of forthcoming concerts, listen to previous performances, read reviews and learn more about the history of KSO.

FOLLOW US Facebook, Twitter and Instagram

FOLLOW OUR FEEDS for the latest news CONNECT WITH US: and behind-the-scenes photos from KSO. facebook.com/kensington Join the conversation and share our news, symphonyorchestra photos and events with your friends and twitter.com/ family to help us spread the word. kensingtonso instagram.com/ kensingtonsymphony

JOIN OUR MAILING LIST News straight to your inbox

SIGN UP TO OUR NEWSLETTER REGISTER FOR ALERTS: to receive emails with the details of all our concerts. Visit kso.org.uk/ kso.org.uk/mailinglist mailinglist or email jo.johnson@kso. [email protected] org.uk and we’ll keep you up to date.

DONATE WHILE YOU SHOP Support us at no cost to you

CONTRIBUTE TO KSO by shopping online. BUY VIA THESE WEBSITES: A number of online retailers will pay us a small percentage of the value of your kso.org.uk/shop purchase – at no extra cost to you – when thegivingmachine.co.uk you visit their websites through links on kso.org.uk/shop or thegivingmachine.co.uk.

OCTOBER 2017 13 TONIGHT’S PERFORMERS THE ORCHESTRA

FIRST VIOLIN Judith Robinson CONTRABASSOON MUSIC DIRECTOR Alan Tuckwood Ana Ramos Sheila Wallace Russell Keable Robert Chatley Kriskin Allum Bronwen Fisher DOUBLE BASS TRUSTEES FRENCH HORN Claire Dovey Steph Fleming Chris Astles Jon Boswell Sabina Nielsen Oliver Bates David Baxendale Ria Hopkinson Sam Wise Heather Pawson Elizabeth Bell Helen Turnell Mark McCarthy Ed Corn Sarah Hackett Ben Havinden Alex Regan John Dovey Taro Visser Damon Burrows Sophie Prett Judith Ní Bhreasláin Susan Knight Jo Towler Sabina Nielsen Will Foulds FLUTE Andy Feist Heather Pawson Francoise Robinson Christopher Wyatt Richard Slater Nick Rampley Erica Jeal Claire Knighton Richard Sheahan Dan Dixon WAGNER TUBA SECOND VIOLIN Katie Burling Andy Feist ENDOWMENT TRUST Richard Slater David Pievsky Robert Drennan Juliette Barker PICCOLO TRUMPET Graham Elliott Heather Bingham Dan Dixon Judith Ní Bhreasláin Matthew Hickman Katie Burling Stephen Willcox Nick Rampley Jenny Davie Claire Knighton John Hackett Liz Errington Leanne Th ompson Neil Ritson Jeremy Bradshaw ALTO FLUTE Michael Collins Rufus Rottenberg Liz Cutts Mathew Tucker EVENTS Catherine Abrams Kathleen Rule PICCOLO TRUMPET Richard Sheahan OBOE Chris Astles Elizabeth Bell Charles Brenan John Hackett Judith Ní Bhreasláin Helen Ecclestone Elly Hardwick BASS TRUMPET Sabina Nielsen Sarah Bruce Phil Cambridge Beccy Spencer VIOLA Juliette Murray-Topham Leanne Th ompson Beccy Spencer Chris Astles TROMBONE Sonya Wells MARKETING COR ANGLAIS Phil Cambridge Guy Raybould Ken McGregor Jeremy Bradshaw Alex Miller-Jones Chris Astles Sally Randall Juliette Murray-Topham Ria Hopkinson BASS TROMBONE Jo Johnson Andrew McPherson Stefan Terry Sam Blade CLARINET Andrew Neal Phil Cooper Chris Horril TUBA Guy Raybould Meredith Estren Claire Baughan Neil Wharmby Jane Spencer-Davis Graham Elliott David Young MEMBERSHIP Liz Lavercombe Chris Walters Juliette Barker Tom Milburn-Philpott TIMPANI David Baxendale PICCOLO CLARINET Brian Furner Andrew Neal CELLO Ivan Rockey Catherine Hockings Joseph Spooner PROGRAMMES BASS CLARINET Linda Morris PERCUSSION Ria Hopkinson David Baxendale Graham Elliott Tim Alden Natasha Briant Chris Walters Andrew Barnard Kim Polman Catherine Hockings Rosi Callery BASSOON Richard Souper CONTACT US: Vanessa Hadley Nick Rampley Simon Willcox Natasha Foster John Wingfi eld-Hill Becca Walker Kriskin Allum HARP Annie Marr-Johnson Th omas Potter Bethan Semmens

14 KENSINGTON SYMPHONY ORCHESTRA 62ND SEASON 2017/18

PHOTO: © SIM CANETTY-CLARKE MONDAY 20 NOVEMBER 2017 7.30PM ST JOHN’S SMITH SQUARE BACH orch. SCHOENBERG Prelude and Fugue in E fl at major, ‘St Anne’ SCHOENBERG Five Pieces for Orchestra BRAHMS arr. SCHOENBERG Piano Quartet in G minor

TUESDAY 23 JANUARY 2018 7.30PM CADOGAN HALL STRAVINSKY Violin Concerto Soloist: Fenella Humphreys SCHUBERT Symphony No.9, ‘The Great’

SATURDAY 10 MARCH 2018 7.30PM ST JOHN’S SMITH SQUARE BRUCKNER Symphony No.8 Guest conductor: Michael Seal

MONDAY 21 MAY 2018 7PM ST JOHN’S SMITH SQUARE PUCCINI La Bohème

TUESDAY 3 JULY 2018 7.30PM ST JOHN’S SMITH SQUARE DELIUS A Song of Summer BRIDGE The Sea SIBELIUS Symphony No.6 in D minor