61st SEASON
61st SEASON
John AdamsSlonimsky’s EarboxColin MatthewsHorn ConcertoSoloist: Richard WatkinsInterval – 20 minutesBartókConcerto for OrchestraRussell Keable conductorAlan Tuckwood leaderMonday 3 October 2016, 7.30pmSt John’s Smith SquareCover image: Saranac Lake, New York, where Bartók was staying when he received the commission for the Concerto forOrchestraIn accordance with the requirements of Westminster City Council persons shallnot be permitted to sit or stand in any gangway. The taking of photographs and useof recording equipment is strictly forbidden without formal consent from St John’s.Smoking is not permitted anywhere in St John’s. Refreshments are permitted onlyin the restaurant in the Crypt. Please ensure that all digital watch alarms, pagersand mobile phones are switched off. During the interval and after the concert therestaurant is open for licensed refreshments.Box office tel: 020 7222 1061. Website: www.sjss.org.uk. St John’s Smith SquareCharitable Trust, registered charity no: 1045390. Registered in England. Company no:3028678.
TONIGHT’S PROGRAMMEJOHN ADAMSborn 1947Slonimsky’s EarboxThe title pays tribute to the Russian-born NicolasSlonimsky. Although best known as the authorof several witty books on music, his exhaustivecompendium The Thesaurus of Scales and MelodicPatterns has been an invaluable resource for Adams inhis own music.Photo Vern EvansAlthough John Adams has been in the front rank ofAmerican concert composers since he was in hisearly forties, his self-confessed priority is opera.‘Basically I’m like Strauss,’ he has said, ‘writing theAlpine Symphony until the next libretto is ready.’ Hisfirst highly successful opera was Nixon in China, firstperformed in 1987. Slonimsky’s Earbox marked animportant turning point in his orchestral music, comingafter a period of experimentation that began withhis second opera of 1991, The Death of Klinghoffer,and continued in his Chamber Symphony and ViolinConcerto. Slonimsky’s Earbox successfully integratesthe repetitive motifs, steady background pulse andstatic harmonies of Minimalism with a more complex,contrapuntal language.John AdamsSlonimsky’s Earbox was commissioned by two orchestras: the Hallé in Manchester and the OregonSymphony in Portland, Oregon. Composed in 1995, it is dedicated to Kent Nagano, a longtimefriend and supporter of Adams’s music, who conducted the first performance in the then newBridgewater Hall, Manchester, in September 1996. The American première was given by theBoston Symphony Orchestra the following year, conducted by another friend and supporter, JamesDePreist.Adams’s model for the work was the opening of Stravinsky’s symphonic poem of 1917, The Songof the Nightingale. In this the Russian composer used music from his earlier opera, The Nightingale,whose origins go back to his studies with Rimsky-Korsakov. What attracted Adams was ‘the wayStravinsky’s orchestra bursts out in a brilliant eruption of colours, shapes and sounds’. He wasalso fascinated by Stravinsky’s use of modal scales. Derived from Russian folk music, these werealso used by other Russian composers such as Scriabin; Adams regrets that their potential as arich source for the development of twentieth-century music was quashed by the overwhelminginfluences of Stravinsky’s later neo-classicism and Schoenberg’s twelve-tone technique.4
TONIGHT’S PROGRAMMECOLIN MATTHEWSborn 1946‘There’s a wall blocking new music, and sometimesit feels as if I’m banging my head against it,’ lamentedColin Matthews at the time of the première of hisHorn Concerto in April 2001. Younger brother ofcomposer David, he read Classics at NottinghamUniversity before switching to music. After studyingwith Arnold Whittall and Nicholas Maw he assistedthe ailing Benjamin Britten during the last years ofhis life, preparing the vocal score of Death in Veniceamongst many other tasks. He also collaboratedwith Deryck Cooke on the performing version ofMahler’s unfinished Tenth Symphony. His own worksinclude solo piano music, five string quartets andmany ensemble works. During the 1990s he workedwith the London Symphony Orchestra as AssociateComposer and from 2001 to 2010 he was the HalléOrchestra’s Composer-in-Association; he is nowits Composer Emeritus. Although Matthews feels aparticular closeness to the Austro-German traditionhe is not dogmatic about musical language, establishinga personal voice from wherever it can be found.Photo Maurice FoxallHorn ConcertoColin MatthewsThe Horn Concerto was commissioned by the Philharmonia Orchestra, who gave the firstperformance in the Royal Festival Hall in April 2001, conducted by Esa-Pekka Salonen and featuringRichard Watkins as soloist. Matthews’s first concerto, the Cello Concerto no.1 of 1981, wasa highly expressive and personal work with hints of Mahler, Schoenberg and Berg. The gravelybeautiful Horn Concerto is equally expressive but the mood is essentially nocturnal; not necessarilydreamy but an exploration of a haunted and moonlit world. It exploits the horn’s distinctivecharacteristics with mysterious scurryings and Romantic yearning melodies. The scoring helps tocreate this enchanted atmosphere: the strings are often muted and are divided unconventionally;mellow flugelhorns replace the trumpets and the horn section is permanently offstage. Progressingsteadily across the platform, the soloist is ‘a wanderer’ exploring an impressive range of sonicpossibilities.The soloist begins with the four off-stage horns. After hunting calls he hesitatingly begins his owntheme, based on a descending scale. He is invited on stage by a widely spaced magical chord inthe strings and enters with his own declamatory melody which is answered by the flugelhorns andtrombones. After singing to himself he repeats his descending scale which leads to the concerto’smost beautiful music, with sequences of solo melodies against rippling backgrounds. The soloistresponds in the same spirit to a Mahlerian surge from the strings and moves to the centre for thescherzo. As the tempo slackens towards the slow finale, a wistful melody from the horn is repeatedby the strings and the soloist moves to the right of the stage. Everything is now a farewell. Thesoloist’s last song is joined by the violas before he goes off-stage to rejoin the horn quartet. Finallythe initial opening chord in the strings returns and the soloist is heard in the distance.5
TONIGHT’S PROGRAMMEBÉLA BARTÓK1881–1945Concerto for OrchestraIntroduzione: Andante non troppo — Allegro vivaceGiuoco delle coppie: Allegretto scherzandoElegia: Andante non troppoIntermezzo interrotto: AllegrettoFinale: Pesante — PrestoAlthough shy, modest and introverted, Bartók wasone of the most original, independent and freshvoices in twentieth-century music. His greatness layin his extraordinary aptitude for creative synthesis,fusing diverse Eastern European folk sources withcontemporary art music.The rapid advance of Fascism during the 1930splunged Bartók into a state of panic and protest. Hewithdrew his music from performance in Germanyand Italy and switched from a German to a Britishpublisher in 1937. A frantic urge to complete his workBéla Bartókalternated unpredictably with creative paralysis. Buthe couldn’t leave Hungary whilst his mother, to whom he was devoted, remained alive. Althoughher serious illness in the summer of 1939 and her death in December affected him deeply, he wasnow able to move to America with his second wife and son. But he was desperately homesickand couldn’t compose anything new for two years. His only contact with his beloved folk musicwas a research grant to work on a collection of Yugoslav folk songs, and as America showed littleenthusiasm for his music he had virtually no money. He then fell ill with the leukaemia which wasto kill him.It was whilst Bartók was being treated at a sanatorium at Saranac Lake, New York, that he receiveda commission from the conductor Serge Koussevitzky for a work for the Boston SymphonyOrchestra. This became the Concerto for Orchestra, written in only two months betweenAugust and October 1943. It included music written the previous year for a ballet and its brilliantorchestral colouring was probably influenced by the clean-cut virtuosity of American orchestras.Although it was to become one of his most popular works, sadly it was to be almost the last hecompleted. But despite his weakening condition he was able to attend the first performance inDecember 1944 which was a major triumph, his first in many years.Bartók wrote: ‘The general mood of the work represents, apart from the jesting second movement,a gradual transition from the sternness of the first movement and the lugubrious death-song of thethird, to the life-assertion of the last one.’ He also explained that the reason he called the worka concerto was because of its tendency ‘to treat the single instrument or instrument groups inconcertante or soloistic manner’.6
TONIGHT’S PROGRAMMEThe first movement is a sonata allegro with a slow introduction. It opens in a sombre mood witha pentatonic theme in the cellos and basses which grows in three successive stages. At the end ofthe introduction a scalic accompanying figure is gradually speeded up to create the Allegro’s firstsubject, based on fourths and seconds. The second subject, tinged with melancholy, transforms thethrusting rhythm of the main theme into a lilting undulation. This appears first on the solo oboe, isrepeated in octaves by the clarinets and then in triads by flutes and oboe.A respite from the gloom, the second movement is a light-hearted ‘Game of Couples’, framed byside drum tappings. Five pairs of wind instruments (bassoons, oboes, clarinets, flutes and mutedtrumpets) are heard in five different themes which are repeated after a short brass chorale. Theclarinets’ sevenths and the trumpets’ seconds finally resolve on a unison D.The funereal Elegia is far more serious and deeply felt. It begins with a return to the sonority,speed and pitches of the work’s opening. But the expression of grief remains rather impersonalbecause it is so vast, and the constant thematic transformation stops it feeling like an immediateemotional outpouring.Another respite is created by the lyrical Intermezzo interrotto. The ideas are first developed intoa sumptuous melody in G major with changing metres and a tonality of a quite original kind,developed from Bartók’s close study of the most basic elements of folk song. But they are thenreduced to a banal parody of the reiterated theme from the first movement of Shostakovich’sSeventh Symphony of 1941, which Bartók had heard on the radio. This is scorned by laughter in thehigh woodwind and violins and trombone glissandos blow raspberries at it. After this interruptionthe Intermezzo is briefly resumed.The work ends with the last and longest of Bartók’s 2/4 finales. This uses a variety of Hungariandances and canonic episodes, among them a fugal development, leading to an energetic conclusion.A defiantly optimistic reaffirmation of life from a dying man. Fabian Watkinson 20167
ARTISTS’ BIOGRAPHIESBIOGRAPHIESRussell Keable has established a reputationas one of the UK’s most exciting musicians.As a conductor he has been praised in thenational and international press: ‘Keableand his orchestra did magnificently’, wrotethe Guardian; ‘one of the most memorableevenings at the South Bank for many amonth’, said the Musical Times.He performs with orchestras and choirsthroughout the British Isles, has conductedin Prague and Paris (concerts filmed byFrench and British television) and recentlymade his debut with the Royal OmanSymphony Orchestra in Dubai. As achampion of the music of Erich Korngoldhe has received particular praise: the British première of Korngold’s Die tote Stadt was hailed as atriumph, and research in Los Angeles led to a world première of music from Korngold’s film scorefor The Sea Hawk.Keable trained at Nottingham and London universities; he studied conducting at London’s RoyalCollege of Music with Norman Del Mar, and later with George Hurst. For over thirty years hehas been associated with Kensington Symphony Orchestra, one of the UK’s finest non-professionalorchestras, with whom he has led first performances of works by many British composers(including Peter Maxwell Davies, John Woolrich, Robin Holloway, David Matthews, Joby Talbot andJohn McCabe).Keable has also made recordings of two symphonies by Robert Simpson, and a Beethoven CDwas released in New York. He is recognised as a dynamic lecturer and workshop leader. He hasthe rare skill of being able to communicate vividly with audiences of any age (from schoolchildrento music students, adult groups and international business conferences). Over five years hedeveloped a special relationship with the Schidlof Quartet, with whom he established an excitingand innovative education programme. He also holds the post of Director of Conducting at theUniversity of Surrey.Keable is also in demand as a composer and arranger. He has written works for many Britishensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of theirmillennium celebration, was premièred in July 2000. He has also composed music for the mimeartist Didier Danthois to use whilst working in prisons and special needs schools.8Photo Sim Canetty-ClarkeRussell Keable conductor
ARTISTS’ BIOGRAPHIESRichard Watkins hornRichard Watkins is one of the most sought-afterhorn players of his generation. He was PrincipalHorn of the Philharmonia Orchestra for twelveyears, and is currently a member of the NashEnsemble and a founder member of LondonWinds.Richard Watkins has appeared at many of theworld’s most prestigious venues in the UK,Europe and the USA, and has worked with suchconductors as Carlo Maria Giulini, WolfgangSawallisch, Esa-Pekka Salonen, Leonard Slatkin,Giuseppe Sinopoli, Gennady Rozhdestvensky,Vasily Petrenko, Andrew Davis and Mark Elder.His extensive discography includes recordingsof horn concertos by Mozart, Malcolm Arnold,Glière, Ethel Smyth and Colin Matthews, as wellas Mozart’s Sinfonia concertante and chambermusic for horn by Schumann, Schubert andPoulenc. Recent releases include a WigmoreLive disc of Britten’s Canticles with Mark Padmore, Alexander Goehr’s Horn Trio for NMC, EdwardGregson’s Horn Concerto with the BBC Philharmonic for Chandos and Sea Eagle for NMC,featuring works by British composers written for Richard Watkins.Richard Watkins has a long association with Aldeburgh Music, first performing Britten’s Serenadefor tenor, horn and strings with Peter Pears in 1983. Since then he has appeared regularly as asoloist and recitalist, performing concertos by Colin Matthews and Oliver Knussen, as well asperformances of Britten’s works for solo horn. He has been actively involved with the Britten–Pears School, coaching and giving masterclasses. He has also recorded Britten’s Serenade with AllanClayton and Aldeburgh Strings and recently directed the inaugural Britten–Pears Brass Week.In recital Richard Watkins regularly performs with such singers as John Mark Ainsley, Ian Bostridgeand Mark Padmore, and with pianists Barry Douglas, Julius Drake, Paul Lewis, Roger Vignoles and IanBrown.Closely associated with promoting contemporary music for the horn, Richard Watkins has givenpremières of concertos by Peter Maxwell Davies, Nigel Osborne, Magnus Lindberg, DominicMuldowney, Nicola LeFanu, and Colin and David Matthews. Recent premières have included ColinMatthews’s Horn Concerto and Trio, horn quintets by James MacMillan, David Matthews andMark-Anthony Turnage, and horn trios by Huw Watkins, Alexander Goehr and Gerald Barry.Richard Watkins holds the Dennis Brain Chair of Horn at the Royal Academy of Music, where he isalso a Fellow.9
ARTISTS’ BIOGRAPHIESKensington Symphony OrchestraFounded in 1956, Kensington Symphony Orchestra enjoys an enviable reputation as one of thefinest non-professional orchestras in the UK. Its founding aim — ‘to provide students and amateurswith an opportunity to perform concerts at the highest possible level’ — continues to be at theheart of its mission.KSO has had only two Principal Conductors — the founder, Leslie Head, and the currentincumbent, Russell Keable, who recently celebrated three decades with the orchestra. Thededication, enthusiasm and passion of these two musicians has shaped KSO’s image, giving it adistinctive repertoire which sets it apart from other groups.Revivals and premières of new works frequently feature in the orchestra’s repertoire alongside themajor works of the nineteenth, twentieth and twenty-first centuries. World and British premièreshave included works by Arnold Bax, Havergal Brian, Nielsen, Schoenberg, Sibelius,Verdi andBruckner. Russell Keable has aired a number of unusual works, as well as delivering some significantmusical landmarks — the London première of Dvořák’s opera Dimitrij and the British première ofKorngold’s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as ‘a feast ofbrilliant playing’). In January 2004 KSO, along with the London Oriana Choir, performed a revival ofWalford Davies’s oratorio Everyman, a recording of which is available on the Dutton label.Contemporary music has continued to be the life-blood of KSO. An impressive roster ofcomposers working today has been represented in KSO’s programmes, most recently includingMagnus Lindberg, Charlotte Bray, Benedict Mason, Oliver Knussen, Thomas Adès, Brett Dean, AnneDudley, Julian Anderson, Rodion Shchedrin, John Woolrich, Joby Talbot, Peter Maxwell Davies andJonny Greenwood. In December 2005 Errollyn Wallen’s Spirit Symphony, performed with the BBCConcert Orchestra and broadcast on BBC Radio 3, was awarded the Radio 3 Listeners’ Award atthe British Composer Awards. In 2014 KSO performed the world première of Stephen Montague’sFrom the Ether, commissioned by St John’s Smith Square to mark the building’s 300th anniversary.During the 2014/15 season KSO was part of Making Music’s Adopt a Composer scheme,collaborating with Seán Doherty on his work Hive Mind.From the very beginning KSO has held charitable aims. Its first concert was given in aid of theHungarian Relief Fund, and since then the orchestra has supported many different charities, musicaland non-musical. In recent years it has developed links with the Kampala Symphony Orchestraand Music School under its KSO2 programme, providing training, fundraising and instruments inpartnership with the charity Musequality. In 2013 and 2015 the orchestra held Sponsored Playevents in Westfield London shopping centre, raising over 30,000 for the charity War Child. Theorchestra also supports the music programme at Pimlico Academy, its primary rehearsal home.The reputation of the orchestra is reflected in the quality of international artists who regularlyappear with KSO. In recent seasons soloists have included Sir John Tomlinson, Nikolai Demidenko,Richard Watkins, Jean Rigby and Matthew Trusler; and the orchestra enjoys working with the newgeneration of up-and-coming musicians, including BBC Young Musician of the Year 2014 MartinJames Bartlett and Young Classical Artists Trust artists Ji Liu and Richard Uttley. The orchestraworks annually with guest conductors including most recently Michael Seal, Nicholas Collon, AliceFarnham, Andrew Gourlay and Jacques Cohen.10
YOUR SUPPORTFRIENDS OF KSOTo support KSO you might consider joining our verypopular Friends Scheme. There are three levels ofmembership and attendant benefits:FriendUnlimited concessionary rate tickets per concert, prioritybookings, free interval drinks and concert programmes.Premium FriendA free ticket for each concert, unlimited guest tickets atconcessionary rates, priority bookings, free interval drinksand concert programmes.PatronTwo free tickets for each concert, unlimited guest tickets atconcessionary rates, priority bookings, free interval drinksand concert programmes.All Friends and Patrons can be listed in concertprogrammes under either single or joint names.We can also offer tailored Corporate Sponsorships forcompanies and groups. Please ask for details.Cost of membership for the sixty-first season is:Friend. . . . . . . . . . . . . . . . . . . 60Premium Friend. . . . . . . . . . 125Patron . . . . . . . . . . . . . . . . . 220To contribute to KSO by joining the Friends please contactDavid Baxendale by email at friends@kso.org.uk.PatronsSue and Ron AstlesKate BonnerSim Canetty-ClarkeJohn and Claire DoveyBob and Anne DrennanMalcolm and Christine DunmowMr and Mrs G HjertDaan MatheussenJolyon and Claire MaughamDavid and Mary Ellen McEuenMichael and Jan MurrayLinda and Jack PievskyNeil Ritson and familyKim Strauss-PolmanKeith WayePremium FriendsDavid BaxendaleClaude-Sabine and Fortuné BikoroCyril and Charlotte BryanDr Michele Clement andDr Stephanie MunnJohn DaleAlastair FraserMichael and Caroline IllingworthMaureen KeableNick MarchantRichard and Jane RobinsonFriendsAnne BaxendaleRobert and Hilary BruceYvonne and Graeme BurhopGeorge FriendRobert and Gill Harding-PayneRufus RottenbergPaul Sheehan11
YOUR SUPPORTOTHER WAYS TO SUPPORT USSponsorship and DonationsOne way in which you, our audience, can help us very effectively is through sponsorship. Anyonecan be a sponsor, and any level of support — from corporate sponsorship of a whole concert toindividual backing of a particular section or musician — is enormously valuable to us. We offer avariety of benefits to sponsors tailored especially to their needs, such as programme and websiteadvertising, guest tickets and assistance with entertaining. For further details about sponsoringKSO, please speak to any member of the orchestra, email sponsorship@kso.org.uk or callDavid Baxendale on 020 8653 5091.As a charity, KSO is able to claim Gift Aid on any donations made to the orchestra. Donatingthrough Gift Aid means KSO can claim an extra 25p for every 1 you give, at no extra cost toyou. Your donations will qualify as long as they’re not more than four times what you have paid intax in that financial year. If you would like to make a donation, or to inquire about Gift Aid, pleasecontact the Treasurer at subs@kso.org.uk for further information.Leaving a Legacy: Supporting KSO for the next generationLegacies left to qualifying charities — such as Kensington Symphony Orchestra — are exemptfrom inheritance tax. In addition, since April 2012, if you leave more than 10% of your estate tocharity the tax due on the rest of your estate may be reduced from 40% to 36%.Legacies can be left for fixed amounts (‘specific’ or ‘pecuniary’ bequests) as either cash or shares,but a common way to ensure your loved ones are provided for is to make a ‘residuary’ bequest,in which the remainder of your estate is distributed to one or more charities of your choice afterthe specific bequests to your family and friends have first been met.Legacies, along with conventional donations, to KSO’s Endowment Trust allow us to better planfor the next fifty years of the orchestra’s development.If you include a bequest to KSO in your will, telling us you have done so will enable us to keepyou informed of developments and, if you choose, we can also recognise your support. Anyinformation you give us will be treated in the strictest confidence, and does not form any kind ofbinding commitment.For more information about leaving a legacy please speak to your solicitor or Neil Ritson,Chairman of the KSO Endowment Trust, on 020 7723 5490 or email neil.ritson@kso.org.uk.12
YOUR SUPPORTThe KSO WebsiteTo keep up-to-date with KSO informationand events visit our website, where you cansee forthcoming concerts, listen to previousperformances and learn more about the historyof the orchestra.Photo Sim Canetty-ClarkeAn easy way to contribute to KSO at no extracost to yourself is via our website. A numberof online retailers will pay us a small percentageof the value of your purchase when you visittheir page through links on the KSO website.www.kso.org.uk/shopMailing ListIf you would like to receive news of our forthcoming concerts by email, please join our mailing list.Just send a message to jo.johnson@kso.org.uk and we’ll do our best to keep you informed.www.kso.org.uk/mailinglistSocial MediaSee the most recent news and behind-the-scenes photos of the orchestra on our channels onFacebook and Twitter. Share KSO events and related articles with your friends and family in orderto help us promote the orchestra on a wider scale. See below for our specific www.twitter.com/KensingtonSO13
TONIGHT’S PERFORMERSORCHESTRAFirst ViolinAlan TuckwoodMatthew HickmanSusan KnightLouise RingroseRia HopkinsonBronwen FisherHeather BinghamHelen TurnellClaire DoveySarah HackettRobert ChatleyClaire MaughamHelen WaitesJo JohnsonMegan HillAdrian GordonSecond ViolinJuliette BarkerErica JealJudith Ní BhreasláinDanielle DawsonJames ScollickJeremy BradshawElizabeth BellFrancoise RobinsonRufus RottenbergKathleen RuleCamilla NelsonLiz ErringtonRichard SheahanViolaBeccy SpencerGuy RaybouldSally RandallSam BladeAlex Miller-JonesMeredith EstrenDaniela Das DoresJane Spencer-DaviesAlison NethsinghaElizabeth LavercombePhilip CooperLuke WaterfieldCelloJoseph SpoonerNatasha BriantVanessa HadleyLinda MorrisBecca WalkerCat MugeDavid BaxendaleAna RamosAnnie Marr-JohnsonRosi CalleryGeorge WalkerJudith RobinsonBassoonNick RampleyJohn Wingfield-HillKriskin AllumDouble BassSteph FlemingAndy NealSam WiseTerry GibbsMark McCarthyTrumpetStephen WillcoxJohn HackettLeanne ThompsonRasmus BorowskiFluteChristopher WyattClaire PillmoorDan DixonPiccolo/Alto FluteDan DixonOboeCharles BrenanChris AstlesJuliette Murray-TophamContrabassoonKriskin AllumFrench HornJon BoswellHeather PawsonEd CornEmily GorlinFlugelhornStephen WillcoxJohn HackettTrombonePhil CambridgeKen McGregorBass TromboneStefan TerryTubaNeil WharmbyCor AnglaisJuliette Murray-TophamTimpaniTommy PearsonClarinetClaire BaughanGraham ElliottIvan RockeyJohn CookPercussionTim AldenAndrew BarnardSimon WillcoxE flat ClarinetIvan RockeyHarpAlexander RiderBethan SemmensBass ClarinetJohn CookPianoSiwan RhysKeyboardRebecca Taylor14Music DirectorRussell KeableTrusteesChris AstlesDavid BaxendaleElizabeth BellJohn DoveyJudith Ní BhreasláinHeather PawsonNick RampleyRichard SheahanSabina WagstylEndowment TrustRobert DrennanGraham ElliottJudith Ní BhreasláinNick RampleyNeil RitsonEvent TeamChris AstlesBeccy SpencerSabina WagstylMarketing TeamJeremy BradshawJo JohnsonAndrew NealGuy RaybouldLouise RingroseMembership TeamJuliette BarkerDavid BaxendalePhil CambridgeProgrammesKathleen Rule
61st SEASONMonday 21 November 2016, 7.30pm (St John’s Smith Square)DEBUSSY Prélude à l’après-midi d’un fauneDUTILLEUX MétabolesBERLIOZ Roméo et Juliette (excerpts)Monday 23 January 2017, 7.30pm (Cadogan Hall)STRAVINSKY Scènes de balletBRUCKNER Symphony no.4Saturday 4 March 2017, 7.30pm (St John’s Smith Square)With guest conductor Holly MathiesonBEETHOVEN Coriolan OvertureBRETT DEAN TestamentKORNGOLD Symphony in F sharpMonday 15 May 2017, 7.30pm (Barbican Centre, London)60th ANNIVERSARY CONCERTMATTHEW TAYLOR Symphony no.4 (world première)*MAHLER Symphony no.2* with funding provided by Arts Council EnglandMonday 3 July 2017, 7.30pm (St John’s Smith Square)NIELSEN Rhapsody Overture: An Imaginary Journey to the Faroe IslandsARNOLD Rinaldo and ArmidaNIELSEN Symphony no.6
60th ANNIVERSARYCONCERTMonday 15 May 2017, 7.30pmBarbican Centre, LondonMATTHEW TAYLOR Symphony no.4 (world première)*MAHLER Symphony no.2Russell Keable ConductorKiandra Howarth SopranoCaitlin Hulcup Mezzo-SopranoEpiphoni ConsortVox CordisPegasus ChoirCaitlin HulcupTickets: 12.50– 30Kiandra Howarth* with funding provided by Arts Council England
The title pays tribute to the Russian-born Nicolas . Slonimsky. Although best known as the author of several witty books on music, his exhaustive compendium . The Thesaurus of Scales and Melodic Patterns. has been an invaluable resource for Adams in his own music. Slonimsky’s Earbox
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