61st SEASON

John Adams Slonimsky’s Earbox Colin Matthews Horn Concerto Soloist: Richard Watkins Interval – 20 minutes Bartók Concerto for Orchestra

Russell Keable conductor Alan Tuckwood leader

Monday 3 October 2016, 7.30pm St John’s Smith Square

Cover image: Saranac Lake, New York, where Bartók was staying when he received the commission for the Concerto for Orchestra

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 St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments.

Box office tel: 020 7222 1061. Website: www.sjss.org.uk. St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678.

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TONIGHT’S PROGRAMME

Slonimsky’s Earbox

Although John Adams has been in the front rank of American concert composers since he was in his early forties, his self-confessed priority is opera. ‘Basically I’m like Strauss,’ he has said, ‘writing the Alpine Symphony until the next libretto is ready.’ His first highly successful opera was Nixon in China, first performed in 1987. Slonimsky’s Earbox marked an important turning point in his orchestral music, coming after a period of experimentation that began with his second opera of 1991, The Death of Klinghoffer, and continued in his Chamber Symphony and Violin Concerto. Slonimsky’s Earbox successfully integrates the repetitive motifs, steady background pulse and static harmonies of Minimalism with a more complex, contrapuntal language.

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 was commissioned by two orchestras: the Hallé in Manchester and the Oregon Symphony in Portland, Oregon. Composed in 1995, it is dedicated to Kent Nagano, a longtime friend and supporter of Adams’s music, who conducted the first performance in the then new Bridgewater Hall, Manchester, in September 1996. The American première was given by the Boston Symphony Orchestra the following year, conducted by another friend and supporter, James DePreist.

Adams’s model for the work was the opening of Stravinsky’s symphonic poem of 1917, The Song of 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 way Stravinsky’s orchestra bursts out in a brilliant eruption of colours, shapes and sounds’. He was also fascinated by Stravinsky’s use of modal scales. Derived from Russian folk music, these were also used by other Russian composers such as Scriabin; Adams regrets that their potential as a rich source for the development of twentieth-century music was quashed by the overwhelming influences of Stravinsky’s later neo-classicism and Schoenberg’s twelve-tone technique.

JOHN ADAMS born 1947

John Adams

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TONIGHT’S PROGRAMME

Horn Concerto ‘There’s a wall blocking new music, and sometimes it feels as if I’m banging my head against it,’ lamented Colin Matthews at the time of the première of his Horn Concerto in April 2001. Younger brother of composer David, he read Classics at Nottingham University before switching to music. After studying with Arnold Whittall and Nicholas Maw he assisted the ailing Benjamin Britten during the last years of his life, preparing the vocal score of Death in Venice amongst many other tasks. He also collaborated with Deryck Cooke on the performing version of Mahler’s unfinished Tenth Symphony. His own works include solo piano music, five string quartets and many ensemble works. During the 1990s he worked with the London Symphony Orchestra as Associate Composer and from 2001 to 2010 he was the Hallé Orchestra’s Composer-in-Association; he is now its Composer Emeritus. Although Matthews feels a particular closeness to the Austro-German tradition he is not dogmatic about musical language, establishing a personal voice from wherever it can be found.

The Horn Concerto was commissioned by the Philharmonia Orchestra, who gave the first performance in the Royal Festival Hall in April 2001, conducted by Esa-Pekka Salonen and featuring Richard Watkins as soloist. Matthews’s first concerto, the Cello Concerto no.1 of 1981, was a highly expressive and personal work with hints of Mahler, Schoenberg and Berg. The gravely beautiful Horn Concerto is equally expressive but the mood is essentially nocturnal; not necessarily dreamy but an exploration of a haunted and moonlit world. It exploits the horn’s distinctive characteristics with mysterious scurryings and Romantic yearning melodies. The scoring helps to create this enchanted atmosphere: the strings are often muted and are divided unconventionally; mellow flugelhorns replace the trumpets and the horn section is permanently offstage. Progressing steadily across the platform, the soloist is ‘a wanderer’ exploring an impressive range of sonic possibilities.

The soloist begins with the four off-stage horns. After hunting calls he hesitatingly begins his own theme, based on a descending scale. He is invited on stage by a widely spaced magical chord in the strings and enters with his own declamatory melody which is answered by the flugelhorns and trombones. After singing to himself he repeats his descending scale which leads to the concerto’s most beautiful music, with sequences of solo melodies against rippling backgrounds. The soloist responds in the same spirit to a Mahlerian surge from the strings and moves to the centre for the scherzo. As the tempo slackens towards the slow finale, a wistful melody from the horn is repeated by the strings and the soloist moves to the right of the stage. Everything is now a farewell. The soloist’s last song is joined by the violas before he goes off-stage to rejoin the horn quartet. Finally the initial opening chord in the strings returns and the soloist is heard in the distance.

COLIN MATTHEWS born 1946

Colin Matthews

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TONIGHT’S PROGRAMME

Concerto for Orchestra

Introduzione: Andante non troppo — Allegro vivace

Giuoco delle coppie: Allegretto scherzando

Elegia: Andante non troppo

Intermezzo interrotto: Allegretto

Finale: Pesante — Presto

Although shy, modest and introverted, Bartók was one of the most original, independent and fresh voices in twentieth-century music. His greatness lay in his extraordinary aptitude for creative synthesis, fusing diverse Eastern European folk sources with contemporary art music.

The rapid advance of Fascism during the 1930s plunged Bartók into a state of panic and protest. He withdrew his music from performance in Germany and Italy and switched from a German to a British publisher in 1937. A frantic urge to complete his work alternated unpredictably with creative paralysis. But he couldn’t leave Hungary whilst his mother, to whom he was devoted, remained alive. Although her serious illness in the summer of 1939 and her death in December affected him deeply, he was now able to move to America with his second wife and son. But he was desperately homesick and couldn’t compose anything new for two years. His only contact with his beloved folk music was a research grant to work on a collection of Yugoslav folk songs, and as America showed little enthusiasm for his music he had virtually no money. He then fell ill with the leukaemia which was to kill him.

It was whilst Bartók was being treated at a sanatorium at Saranac Lake, New York, that he received a commission from the conductor Serge Koussevitzky for a work for the Boston Symphony Orchestra. This became the Concerto for Orchestra, written in only two months between August and October 1943. It included music written the previous year for a ballet and its brilliant orchestral 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 he completed. But despite his weakening condition he was able to attend the first performance in December 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 the third, to the life-assertion of the last one.’ He also explained that the reason he called the work a concerto was because of its tendency ‘to treat the single instrument or instrument groups in concertante or soloistic manner’.

BÉLA BARTÓK 1881–1945

Béla Bartók

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TONIGHT’S PROGRAMME

The first movement is a sonata allegro with a slow introduction. It opens in a sombre mood with a pentatonic theme in the cellos and basses which grows in three successive stages. At the end of the introduction a scalic accompanying figure is gradually speeded up to create the Allegro’s first subject, based on fourths and seconds. The second subject, tinged with melancholy, transforms the thrusting rhythm of the main theme into a lilting undulation. This appears first on the solo oboe, is repeated 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 by side drum tappings. Five pairs of wind instruments (bassoons, oboes, clarinets, flutes and muted trumpets) are heard in five different themes which are repeated after a short brass chorale. The clarinets’ 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 impersonal because it is so vast, and the constant thematic transformation stops it feeling like an immediate emotional outpouring.

Another respite is created by the lyrical Intermezzo interrotto. The ideas are first developed into a 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 then reduced to a banal parody of the reiterated theme from the first movement of Shostakovich’s Seventh Symphony of 1941, which Bartók had heard on the radio. This is scorned by laughter in the high woodwind and violins and trombone glissandos blow raspberries at it. After this interruption the Intermezzo is briefly resumed.

The work ends with the last and longest of Bartók’s 2/4 finales. This uses a variety of Hungarian dances 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 2016

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BIOGRAPHIES

Russell Keable conductor

Russell Keable has established a reputation as one of the UK’s most exciting musicians. As a conductor he has been praised in the national and international press: ‘Keable and his orchestra did magnificently’, wrote the Guardian; ‘one of the most memorable evenings at the South Bank for many a month’, said the Musical Times.

He performs with orchestras and choirs throughout the British Isles, has conducted in Prague and Paris (concerts filmed by French and British television) and recently made his debut with the Royal Oman Symphony Orchestra in Dubai. As a champion of the music of Erich Korngold he has received particular praise: the British première of Korngold’s Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a world première of music from Korngold’s film score for The Sea Hawk.

Keable trained at Nottingham and London universities; he studied conducting at London’s Royal College of Music with Norman Del Mar, and later with George Hurst. For over thirty years he has been associated with Kensington Symphony Orchestra, one of the UK’s finest non-professional orchestras, 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 and John McCabe).

Keable has also made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York. He is recognised as a dynamic lecturer and workshop leader. He has the rare skill of being able to communicate vividly with audiences of any age (from schoolchildren to music students, adult groups and international business conferences). Over five years he developed a special relationship with the Schidlof Quartet, with whom he established an exciting and innovative education programme. He also holds the post of Director of Conducting at the University of Surrey.

Keable is also in demand as a composer and arranger. He has written works for many British ensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of their millennium celebration, was premièred in July 2000. He has also composed music for the mime artist Didier Danthois to use whilst working in prisons and special needs schools.

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ARTISTS’ BIOGRAPHIES

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ARTISTS’ BIOGRAPHIES

Richard Watkins horn

Richard Watkins is one of the most sought-after horn players of his generation. He was Principal Horn of the Philharmonia Orchestra for twelve years, and is currently a member of the Nash Ensemble and a founder member of London Winds.

Richard Watkins has appeared at many of the world’s most prestigious venues in the UK, Europe and the USA, and has worked with such conductors as Carlo Maria Giulini, Wolfgang Sawallisch, Esa-Pekka Salonen, Leonard Slatkin, Giuseppe Sinopoli, Gennady Rozhdestvensky, Vasily Petrenko, Andrew Davis and Mark Elder.

His extensive discography includes recordings of horn concertos by Mozart, Malcolm Arnold, Glière, Ethel Smyth and Colin Matthews, as well as Mozart’s Sinfonia concertante and chamber music for horn by Schumann, Schubert and Poulenc. Recent releases include a Wigmore Live disc of Britten’s Canticles with Mark Padmore, Alexander Goehr’s Horn Trio for NMC, Edward Gregson’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 Serenade for tenor, horn and strings with Peter Pears in 1983. Since then he has appeared regularly as a soloist and recitalist, performing concertos by Colin Matthews and Oliver Knussen, as well as performances 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 Allan Clayton 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 Bostridge and Mark Padmore, and with pianists Barry Douglas, Julius Drake, Paul Lewis, Roger Vignoles and Ian Brown.

Closely associated with promoting contemporary music for the horn, Richard Watkins has given premières of concertos by Peter Maxwell Davies, Nigel Osborne, Magnus Lindberg, Dominic Muldowney, Nicola LeFanu, and Colin and David Matthews. Recent premières have included Colin Matthews’s Horn Concerto and Trio, horn quintets by James MacMillan, David Matthews and Mark-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 is also a Fellow.

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Kensington Symphony Orchestra

Founded in 1956, Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest non-professional orchestras in the UK. Its founding aim — ‘to provide students and amateurs with an opportunity to perform concerts at the highest possible level’ — continues to be at the heart of its mission.

KSO has had only two Principal Conductors — the founder, Leslie Head, and the current incumbent, Russell Keable, who recently celebrated three decades with the orchestra. The dedication, enthusiasm and passion of these two musicians has shaped KSO’s image, giving it a distinctive repertoire which sets it apart from other groups.

Revivals and premières of new works frequently feature in the orchestra’s repertoire alongside the major works of the nineteenth, twentieth and twenty-first centuries. World and British premières have included works by Arnold Bax, Havergal Brian, Nielsen, Schoenberg, Sibelius, Verdi and Bruckner. Russell Keable has aired a number of unusual works, as well as delivering some significant musical landmarks — the London première of Dvořák’s opera Dimitrij and the British première of Korngold’s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as ‘a feast of brilliant playing’). In January 2004 KSO, along with the London Oriana Choir, performed a revival of Walford 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 of composers working today has been represented in KSO’s programmes, most recently including Magnus Lindberg, Charlotte Bray, Benedict Mason, Oliver Knussen, Thomas Adès, Brett Dean, Anne Dudley, Julian Anderson, Rodion Shchedrin, John Woolrich, Joby Talbot, Peter Maxwell Davies and Jonny Greenwood. In December 2005 Errollyn Wallen’s Spirit Symphony, performed with the BBC Concert Orchestra and broadcast on BBC Radio 3, was awarded the Radio 3 Listeners’ Award at the British Composer Awards. In 2014 KSO performed the world première of Stephen Montague’s From 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 the Hungarian Relief Fund, and since then the orchestra has supported many different charities, musical and non-musical. In recent years it has developed links with the Kampala Symphony Orchestra and Music School under its KSO2 programme, providing training, fundraising and instruments in partnership with the charity Musequality. In 2013 and 2015 the orchestra held Sponsored Play events in Westfield London shopping centre, raising over £30,000 for the charity War Child. The orchestra 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 regularly appear 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 new generation of up-and-coming musicians, including BBC Young Musician of the Year 2014 Martin James Bartlett and Young Classical Artists Trust artists Ji Liu and Richard Uttley. The orchestra works annually with guest conductors including most recently Michael Seal, Nicholas Collon, Alice Farnham, Andrew Gourlay and Jacques Cohen.

ARTISTS’ BIOGRAPHIES

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YOUR SUPPORT

FRIENDS OF KSO

To support KSO you might consider joining our very popular Friends Scheme. There are three levels of membership and attendant benefits:

Friend

Unlimited concessionary rate tickets per concert, priority bookings, free interval drinks and concert programmes.

Premium Friend

A free ticket for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks and concert programmes.

Patron

Two free tickets for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks and concert programmes.

All Friends and Patrons can be listed in concert programmes under either single or joint names.

We can also offer tailored Corporate Sponsorships for companies and groups. Please ask for details.

Cost of membership for the sixty-first season is:

Friend . . . . . . . . . . . . . . . . . . £60 Premium Friend . . . . . . . . . £125 Patron . . . . . . . . . . . . . . . . £220

To contribute to KSO by joining the Friends please contact David Baxendale by email at friends@kso.org.uk.

Patrons Sue and Ron Astles Kate Bonner Sim Canetty-ClarkeJohn and Claire Dovey Bob and Anne Drennan Malcolm and Christine Dunmow Mr and Mrs G Hjert Daan Matheussen Jolyon and Claire Maugham David and Mary Ellen McEuen Michael and Jan Murray Linda and Jack Pievsky Neil Ritson and family Kim Strauss-Polman Keith Waye

Premium Friends David Baxendale Claude-Sabine and Fortuné Bikoro Cyril and Charlotte BryanDr Michele Clement and Dr Stephanie Munn John Dale Alastair Fraser Michael and Caroline Illingworth Maureen Keable Nick Marchant Richard and Jane Robinson

Friends Anne Baxendale Robert and Hilary Bruce Yvonne and Graeme Burhop George Friend Robert and Gill Harding-Payne Rufus Rottenberg Paul Sheehan

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OTHER WAYS TO SUPPORT US

Sponsorship and Donations

One way in which you, our audience, can help us very effectively is through sponsorship. Anyone can be a sponsor, and any level of support — from corporate sponsorship of a whole concert to individual backing of a particular section or musician — is enormously valuable to us. We offer a variety of benefits to sponsors tailored especially to their needs, such as programme and website advertising, guest tickets and assistance with entertaining. For further details about sponsoring KSO, please speak to any member of the orchestra, email sponsorship@kso.org.uk or call David Baxendale on 020 8653 5091.

As a charity, KSO is able to claim Gift Aid on any donations made to the orchestra. Donating through Gift Aid means 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’re not more than four times what you have paid in tax in that financial year. If you would like to make a donation, or to inquire about Gift Aid, please contact the Treasurer at subs@kso.org.uk for further information.

Leaving a Legacy: Supporting KSO for the next generation

Legacies left to qualifying charities — such as Kensington Symphony Orchestra — are exempt from inheritance tax. In addition, since April 2012, if you leave more than 10% of your estate to charity 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 after the 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 plan for 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 keep you informed of developments and, if you choose, we can also recognise your support. Any information you give us will be treated in the strictest confidence, and does not form any kind of binding 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.

YOUR SUPPORT

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YOUR SUPPORT

The KSO Website

To keep up-to-date with KSO information and events visit our website, where you can see forthcoming concerts, listen to previous performances and learn more about the history of the orchestra.

An easy way to contribute to KSO at no extra cost to yourself is via our website. A number of online retailers will pay us a small percentage of the value of your purchase when you visit their page through links on the KSO website. www.kso.org.uk/shop

Mailing List

If 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/mailinglist

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TONIGHT’S PERFORMERS

First ViolinAlan TuckwoodMatthew HickmanSusan KnightLouise RingroseRia HopkinsonBronwen FisherHeather BinghamHelen TurnellClaire DoveySarah HackettRobert ChatleyClaire MaughamHelen WaitesJo JohnsonMegan HillAdrian Gordon Second Violin Juliette BarkerErica JealJudith Ní BhreasláinDanielle DawsonJames ScollickJeremy BradshawElizabeth BellFrancoise RobinsonRufus RottenbergKathleen RuleCamilla NelsonLiz ErringtonRichard Sheahan

Viola Beccy SpencerGuy RaybouldSally RandallSam BladeAlex Miller-Jones Meredith EstrenDaniela Das Dores Jane Spencer-DaviesAlison Nethsingha Elizabeth LavercombePhilip CooperLuke Waterfield

Cello Joseph SpoonerNatasha BriantVanessa HadleyLinda MorrisBecca WalkerCat MugeDavid BaxendaleAna RamosAnnie Marr-JohnsonRosi CalleryGeorge WalkerJudith Robinson

Double Bass Steph FlemingAndy NealSam WiseTerry GibbsMark McCarthy

FluteChristopher WyattClaire PillmoorDan Dixon

Piccolo/Alto FluteDan Dixon

OboeCharles BrenanChris AstlesJuliette Murray-Topham

Cor Anglais Juliette Murray-Topham

ClarinetClaire BaughanGraham ElliottIvan RockeyJohn Cook

E flat ClarinetIvan Rockey

Bass ClarinetJohn Cook

BassoonNick RampleyJohn Wingfield-HillKriskin Allum

ContrabassoonKriskin Allum French Horn Jon BoswellHeather PawsonEd CornEmily Gorlin

Trumpet Stephen WillcoxJohn HackettLeanne ThompsonRasmus Borowski

FlugelhornStephen WillcoxJohn Hackett

TrombonePhil CambridgeKen McGregor

Bass TromboneStefan Terry

TubaNeil Wharmby

TimpaniTommy Pearson

PercussionTim AldenAndrew BarnardSimon Willcox

HarpAlexander RiderBethan Semmens

PianoSiwan Rhys

KeyboardRebecca Taylor

Music DirectorRussell Keable

TrusteesChris AstlesDavid BaxendaleElizabeth BellJohn DoveyJudith Ní BhreasláinHeather PawsonNick RampleyRichard SheahanSabina Wagstyl

Endowment TrustRobert DrennanGraham ElliottJudith Ní BhreasláinNick RampleyNeil Ritson

Event TeamChris AstlesBeccy SpencerSabina Wagstyl

Marketing TeamJeremy BradshawJo Johnson Andrew NealGuy RaybouldLouise Ringrose

Membership TeamJuliette BarkerDavid Baxendale Phil Cambridge

ProgrammesKathleen Rule

ORCHESTRA

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Monday 21 November 2016, 7.30pm (St John’s Smith Square)DEBUSSY Prélude à l’après-midi d’un faune DUTILLEUX Métaboles BERLIOZ Roméo et Juliette (excerpts)

Monday 23 January 2017, 7.30pm (Cadogan Hall)STRAVINSKY Scènes de ballet BRUCKNER Symphony no.4

Saturday 4 March 2017, 7.30pm (St John’s Smith Square) With guest conductor Holly MathiesonBEETHOVEN Coriolan OvertureBRETT DEAN TestamentKORNGOLD Symphony in F sharp

Monday 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 England

Monday 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

61st SEASON

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60th ANNIVERSARY CONCERT Monday 15 May 2017, 7.30pmBarbican Centre, London

MATTHEW TAYLOR Symphony no.4 (world première)*

MAHLER Symphony no.2

Russell Keable ConductorKiandra Howarth SopranoCaitlin Hulcup Mezzo-SopranoEpiphoni ConsortVox Cordis Pegasus Choir

* with funding provided by Arts Council England