Cambridge University Musical SocietyWest Road Concert Hall

CambridgeCB3 9DP

www.cums.org.uk

Principal Guest Conductor Sir Roger Norrington CBE

CUMS Conductor Laureate Stephen Cleobury CBE

Artistic Advisor Sian Edwards

CAMBRIDGE UNIVERSITY ORCHESTRA

Saturday 17 November 2018, 8.00pmWest Road Concert Hall

SIAN EDWARDSconductor

IGNACIO MAÑÁ-MESASsaxophone

www.cums.org.uk

CUMS is grateful for the support ofTTP Group – Principal Sponsor, Bloom Design, Christ’s College, Churchill College, Corpus Christi College, CUMS Fund, CUMS Supporters’ Circle, Emmanuel College, Gonville and Caius College, Jesus College, King’s College, Murray Edwards College, Newnham College, Peterhouse College, Robinson College, St Edmund’s College, St John’s College, Trinity College, Trinity Hall, University of Cambridge Faculty of Music, University of Cambridge Societies Syndicate, West Road Concert Hall, Wolfson College

Cambridge University OrchestraSaturday 17 November 2018, 8.00pm

West Road Concert Hall

Gershwin An American in Paris Tomasi Concerto for Alto Saxophone and Orchestra Berlioz Overture ‘Le Corsaire’ op.21 Debussy La Mer

Sian Edwards conductor Ignacio Mañá-Mesas saxophone

CUMS Concerto Competition 2018 winner

MACMILLAN CANCER SUPPORT

IN CAMBRIDGESHIRE

As 2020 approaches, when we know that 1 in 2 people will receive a cancer diagnosis at some time in their lives, Macmillan is constantly listening to the needs of cancer patients to provide the best information and support services it can to cancer patients and their families. Every cancer patient needs individual care and support through their cancer ‘journey,’ and every journey is unique. Here are some of the things happening in our county.

There are now 100 Macmillan Health Professionals (doctors, nurses, dieticians, physios, social workers etc) working in local clinical environments and in the community in Cambridgeshire.

In 2017 Macmillan invested over £175,000 to fund three Macmillan navigators. Working at Cambs University Hospitals NHS Foundation Trust, they identify what all-round support (medical, practical, emotional and financial) people need as individuals at diagnosis, during treatment, and after treatment. A navigator will then signpost patients to appropriate health services or other local support, such as a back-to-work scheme. Through this funding, it is hoped that patients will get the information and support they need quickly, easing anxieties between appointments and larger worries about the future.

Macmillan funds 2 Macmillan GP facilitators. They visit GP practices in the county, to offer training and support around cancer, particularly early diagnosis and living with and beyond cancer.

Outside the hospital and GP practice environment, Macmillan has valuable corporate partnerships with companies such as Boots and Marks & Spencer. The latter is the Charity’s biggest sponsor for the World’s Biggest Coffee Morning event. For the former company, Macmillan has trained 21 Boots Macmillan Information pharmacists. They are trained to give cancer information and support. The 11 Boots Macmillan beauty advisers support people to manage the visible side effects of cancer treatment.

The Charity knows how a cancer diagnosis can cause huge financial worries, but in 2017 Macmillan gave out £138,790 in financial grants to 356 people in Cambridgeshire alone, as well as having 2 Benefits officers visit the support centre in Addenbrooke’s to help to fill in the forms for cancer patients to claim the benefits to which they are entitled.

Finally, if you or anyone you know, has a question about cancer do refer it to the Macmillan helpline - 0808 808 00 00

Macmillan is grateful to CUMS for allowing the Charity to benefit from this concert and thank you for reading this article.

There will be a retiring collection at the end of the concert and we hope you may feel able to support the Charity’s work generously.

Thank you.

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ESPROGRAMME NOTES

George Gershwin (1898–1937)

An American in Paris“Why do you want to become a second-rate Ravel when you’re already a first-rate Gershwin?” Ravel asked when Gershwin came to Paris in search of composition lessons in the mid-1920s. By this time, the young American had enjoyed immense international acclaim in 1924 with ‘Rhapsody in Blue’, Gershwin’s first foray into ‘symphonic blues’, and - alongside his brother, Ira - had produced a string of stage successes that included Lady Be Good (1924), Oh, Kay! (1926), and Funny Face (1927).

Now in Paris, finding himself rejected by Ravel and the esteemed teacher Nadia Boulanger (among others), Gershwin instead applied himself to composing a new “rhapsodic ballet” that strove to capture the impressions of an American visitor as they strolled around the city and absorbed the French atmosphere. The piece throws up various scintillating snapshots of the city of lights, its bustling boulevards, caffeine-filled quartiers, honking horns, and sleepy sidewalks, while still retaining a catchy, showbiz feel; the critics Nobert Carnovale and Richard Crawford described the work as a “medley of excellent tunes, varied and extended, and clad in attractive orchestral garb” in a way that seems to capture the folly and élan of jazz-age Paris.

The work relies on the repetition of smaller units; the first 20 bars stating and restating an eight-bar theme that includes six repetitions of the same one-bar motif. Betraying his roots, Gershwin also includes a nostalgic reference to American Blues, with the melody that accompanies his tourist diving into a café to escape a fleeting pang of homesickness.

The piece premiered in Carnegie Hall with the New York Philharmonic Symphony Orchestra (complete with genuine cab-horns) in 1928. Less than two months later Nathaniel Shilkret recorded the piece with the Victor Symphony Orchestra, featuring an uncredited George Gershwin on celesta. ‘An American in Paris’ inspired the eponymous 1951 film, starring Gene Kelly and featuring other songs by George and Ira, capitalising on the music’s balletic quality.

Henri Tomasi (1901–1971)

Concerto for Alto Saxophone and OrchestraBorn in 1901, the French conductor and composer, Henri Tomasi owes much of his musical training to the Paris Conservatoire, where he studied conducting under Gaubert and composition under Paul Dukas and Paul Vidal. After winning the Prix de Rome in 1927, Tomasi went on to co-found the contemporary music society ‘Triton’, which promoted new chamber works in Paris, with Prokofiev, Poulenc, Milhaud, and Honnegar.

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The Concerto for Saxophone was first performed by the renowned Marcel Mule in 1949, and is split into two movements. The first opens with a lyrical, jazz-infused Andante that casts the soloist as a brassier, somewhat more brazen counterpart to Debussy’s ‘Faune’. This gives way to a hobbling, 5/4 Allegro whose fragmented motifs slowly transform into disjunct, but graceful arabesques until they themselves start to loop into juddering ostinati, underscored by menacing lower brass. The orchestral dissolve leaves the soloist floating in an ethereal dance with himself, until the opening material returns in lush, romantic scoring.

The second movement, subtitled ‘Gyration’, patently has something of Prokofiev’s mischievous Scherzo style about it. After the soloist’s initial, impish dialogue with the orchestra, Tomasi leads us into stormy waters, with a hurtling chromatic descent that splashes into an ominously braying motif in the orchestral forces. The movement ends recalling the minor third oscillation from the beginning of the concerto.

INTERVAL

Hector Berlioz (1803–1869)

Overture ‘Le Corsaire’ op.21After the professionally and personally draining summer of 1844, marked by a gruelling performance schedule and the breakdown of the tempestuous relationship with his wife, Harriet Smithson, Berlioz sought respite in the Mediterranean climes of sunny Nice.

There he began work on a new concert overture with a somewhat fraught nominal history. Beginning with the title ‘La Tour de Nice’, Berlioz briefly flirted with ‘Le Corsaire Rouge (after James Fenimore Cooper’s novel, ‘The Red Rover’) before settling on its current form, ‘Le Corsaire’, in a nod to Byron’s poem of the same name.

From the get-go, the piece dashes away at full mast, the violins snaking up the rigging of a rising, C-major scale, only to have the wind knocked from their sails by the fluttering syncopation in the woodwind. After lingering awhile in a languorous A flat major Adagio, the orchestra darts off anew with the opening material. When the lyrical theme returns, it does so in full swashbuckling garb, and fully integrated into the bombastic Allegro opening to be bandied bravely around the orchestra until the piece’s triumphant close.

Claude Debussy (1862–1918)

La Mer“The audience seemed rather disappointed” wrote the critic, Louis Schneider, after ‘La Mer’ premiered in Paris in 1905, “they expected the ocean, something big, something colossal, but they were served instead with some agitated water in a saucer.” The rehearsal process had not gone any more smoothly either; as told by Stravinsky, Debussy reported the strings tying handkerchiefs to the tips of their bows as a sign of protest.

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Various explanations have been offered for ‘La Mer’s’ initially icy reception: the conductor, Chevillard was reportedly not comfortable with new repertoire and the French public were once again distracted by a scandal: this time, the composer’s decision to leave his wife for the singer, Emma Bardac, the mother of one of his pupils. In either case, the piece had to wait until its second Parisian performance in 1908 before it achieved wider acclaim.

Generically, the work is characteristically evasive. The ghosts of a symphonic plan can be traced despite Debussy’s evasion of the title in favour of the more ambiguous ‘symphonic sketches’. The first movement, “De l’aube à midi sur la mer” (From dawn to noon on the sea) begins with a slow introduction that yields to two principal themes, the second “Jeux de vagues” (Play of the waves) passing for a Scherzo, and the third, “Dialogue du vent et de la mer” (Dialogue between the wind and waves) casting itself as a sort of Rondo. Where the work innovates, argues Simon Treizise, is in its self-generating motivic focus, Jean Barraqué adding that that the piece represents “a sonorous becoming…a developmental process in which the very notions of exposition and development coexist in an uninterrupted burst.”

Though ‘La Mer’ was completed in the somewhat unexpected environs of Eastborne, Debussy was purportedly more inspired by paintings of the sea, than by the thing itself. This approach has seen the composer has been likened to the British painter, William Turner, who also preferred to work

“from memory, occasionally turning for inspiration to a few other sources.”

Programme notes by Jonathan Nicolaides

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BIOGRAPHIES

Sian EdwardsSian Edwards studied at the RNCM and with Professor A.I. Musin at the Leningrad Conservatoire. She is Head of Conducting at the Royal Academy of Music. She has worked with many of the world’s leading orchestras including Los Angeles Philharmonic, Cleveland, Orchestre de Paris, Ensemble Orchestral de Paris, Berlin Symphony, the Frankfurt Radio Symphony Orchestra, MDR Leipzig, Vienna Symphony Orchestra, Rotterdam Philharmonic, Finnish Radio Symphony, St. Petersburg Philharmonic, Royal Flanders Philharmonic, London Sinfonietta, the Hallé, and City of Birmingham Symphony Orchestra. She has a close relationship with Ensemble Modern in Germany.

She has worked at all the major UK opera houses and made her operatic debut in 1986 conducting Weill’s Mahagonny for Scottish Opera and her ROH debut in 1988 with Tippett’s The Knot Garden. From 1993 to 1995 she was Music Director of ENO for whom her repertoire included Khovanshchina, Jenufa, Queen of Spades and Blond Eckbert. Other operatic engagements include Munich, Opéra Comique, Frankfurt, Copenhagen, Helsinki, Vienna and Aspen.

Recent and future concert engagements include performances with Ensemble Modern, Bayerische Rundfunk in Munich, SWR Sinfonieorchester Freiburg, Kuopio Symphony, Turku Philharmonic, Klangforum Wien, Frankfurt Radio Symphony, Orquesta Sinfonica de Galicia, musikfabrik, Landesjugendorchester Berlin, Deutscher Musikrat, Jyväskylä Symphony, Sonderjyllands Symphony, Palestinian Youth Orchestra, Nagoya Philharmonic, Sao Paulo Symphony, St Petersburg Chamber Philharmonic, Turku Philharmonic, Milton Keynes City Orchestra, Edinburgh Youth Orchestra, Royal Philharmonic Orchestra, BBC National Orchestra of Wales, Orchestra Sinfonica Siciliana, Royal Conservatoire of Scotland, Russian National Orchestra, as well as appearances at the 2014 BBC Proms and on tour to Singapore with London Sinfonietta and at the Edinburgh International Festival.

Operatic engagements include The Rape of Lucretia and La traviata for the Theater an der Wien, Katya Kabanova and Iolanta for Opera Holland Park, Katya Kabanova for Opera North, The Rake’s Progress and Bluebeard’s Castle for Scottish Opera, David Bruce’s Nothing for Glyndebourne, Ades’ The Tempest for Oper Frankfurt , the world premieres of Turnage’s Coraline and Luke Bedford’s Through His Teeth for Royal Opera House Covent Garden and a concert performance of Tippett’s King Priam at the Brighton Festival.

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Ignacio Mañá-MesasIgnacio Mañá Mesas (b. 1998) is a Spanish saxophonist and composer who is currently based in the UK. He started his musical studies at ‘Cristóbal Halffter’ Intermediate Level Conservatoire in Ponferrada (Spain) in 2006, where he studied saxophone with Pablo Pardo García and Fco Javier Rodríguez García. He made his debut as a soloist in 2009 with the local Wind Band and later on, in 2014, he also played as a soloist with the Youth Orchestra of León (JOL). He competed successfully in many competitions in Spain both as a saxophonist and a composer, winning the First Prize in the Adolfo Guzmán International Saxophone Competition in two consecutive editions (2009 and 2010), the First Prize and the Special Prize in the Aldebi Young Musicians’ National Competition 2010, and the First Prize in the National ‘Intercentros Melómano’ Competition 2012 in Castilla y León. In 2015, he passed his LTCL Saxophone Recital Diploma with distinction and finished his musical studies at ‘Cristóbal Halffter’ Conservatoire with honours, obtaining the Extraordinary Prize in Castilla y León with the best mark in his region and receiving a nomination for the National Music Award. He then received an offer and a scholarship from Chetham’s School of Music (Manchester, UK) to complete his academic studies, where he studied saxophone with Carl Raven and composition with Jeremy Pike for two years. He offered solo recitals, premiered and conducted his compositions at some prestigious venues, such as The Bridgewater Hall (Manchester), The Stoller Hall (Manchester), the Royal College of Music (London), and The Arts Club (London). In 2017, he received offers and scholarships from the Royal College of Music and the Royal Academy of Music, but he finally decided to continue his musical studies at the University of Cambridge (St John’s College). In recent competitions, he won the Second Prize in the ENKOR International Music Competition 2017, was highly commended in the BBC Proms Inspire Young Composers’ Competition 2018, won the First Prize in the Cambridge University Musical Society Concerto Competition 2018, and reached the Semifinal of the Bromsgrove International Musicians’ Competition 2018.

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<<ORCHESTRA NAME>>CAMBRIDGE UNIVERSITY ORCHESTRA

VIOLIN I

Emma Lisney GHanna Lee EMLudwig Cheng CTHLouie McIver GHermione Kellow QRoy Navid TSophie

Westbrooke EMJim Tse SIDYu-Tzu Lin*Hannah Erlebach THWilliam Rose QVictor Sun THannah Bostock SID

VIOLIN II

Esme Lewis PETHenrietta

McFarlane EMSusanna Alsey NLucas Huysmans RAlice Beardmore CAIKieran Mathiak PEMGabriel Rumney CTHEsme Cavendish CHRGiselle Overy KLydia Shephard SE

VIOLA

Tess Jackson CLClaire Watters CHRAlex Gunasekera CCNancy Shen NDavid Liu QJonathan Shaw EM

CELLO

Dominic Martens CLSam Weinstein PEMDaniel Gilchrist CAIJudy Sayers T

Laurence Cochrane PEM

Lachlan Lindsay CTHNathanael Smalley KLotte Hondebrink CL

DOUBLE BASS

Alex Jones SEJames Kiln THSam Fitzgerald SEElla Collier K

FLUTE

Jenny Whitby PEMFelix Blake SEPia Rose

Scattergood CL

PICCOLO

Pia Rose Scattergood CL

OBOE

Katrina Mulheran FThomas Hammond RSimon Fraser CHR

COR ANGLAIS

Simon Fraser CHR

CLARINET

Thomas McFarlane HHMaddy Morris GIsabel Freedman CCDuncan Fraser M

BASS CLARINET

Duncan Fraser M

BASSOON

Francis Bushell RHannah Harding DOWJack Stebbing CTH

CONTRABASSOON

Emma Macrae R

HORN

William Jones JEAiden Chan JEMoritz Grimm RChris Wykes*

TRUMPET

Ed Liebrecht JEDaniel Shailer PEMOwen Aljabar CAI

CORNET

Mark Boddy*

TROMBONE

Victoria Starling PEMPatrick Morris CLMax Wilkinson T

TUBA

Will Freeman CL

ALTO SAX

Richard Moulange T

TENOR SAX

Emily Neve CTH

BARITONE SAX

Alice Cozens N

TIMPANI

Tom Else CC

PERCUSSION

Agnes Fung JEMaxim Meshkvichev KRichard Moulange TMaddy Morris G

HARP

Oliver Cope CLEleanor Medcalfe Q

CELESTE

Owen Saldanha PEM

*Guest player

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CAMBRIDGE UNIVERSITY MUSICAL SOCIETY

Cambridge University Musical Society (CUMS) is one of the oldest and most distinguished university music societies in the world. It offers a world-class musical education for members of the University and local residents, nurturing the great musicians of the future and providing performing opportunities for over 500 Cambridge musicians every year.

The Society has played a pivotal role in British musical life for over 170 years. It has educated Sir Andrew Davis, Sir Mark Elder, Sir John Eliot Gardiner, Edward Gardner, Christopher Hogwood and Robin Ticciati, has premièred works by Brahms, Holloway, Lutoslawski, Rutter, Saxton and Vaughan Williams, and has given generations of Cambridge musicians the experience of performing alongside visiting conductors and soloists including Britten, Dvořák, Kodaly, Menuhin and Tchaikovsky. Since the 1870s, CUMS has enjoyed the leadership of several of Britain’s finest musicians, including Sir Charles Villiers Stanford, Sir David Willcocks, Sir Philip Ledger, and, from 1983 to 2009, Stephen Cleobury.

In 2009, Stephen Cleobury assumed a new role as Principal Conductor of the CUMS Symphony Chorus, Sir Roger Norrington was appointed as Principal Guest Conductor and a series was launched to expose CUMS members to a succession of world-class visiting conductors.

In 2010, CUMS entered another new phase when it merged with the Cambridge University Chamber Orchestra and Cambridge University Music Club. In October 2010, the Society launched the Cambridge University Lunchtime Concerts – a new series of weekly chamber recitals at West Road Concert Hall showcasing our finest musical talent. In 2011 it welcomed the Cambridge University Chamber Choir, which is directed by Martin Ennis and David Lowe and Nicholas Mulroy. In 2014, the Cambridge University Jazz Orchestra and the Cambridge University New Music Ensemble joined CUMS as associate ensembles. Most recently, in 2017, CUMS Orchestras undertook a restructure, forming two ensembles (Cambridge University Orchestra and Cambridge University Sinfonia) as opposed to three, with the aim of creating a greater number of opportunities for students to play under some of the best professional conductors.

CUMS continues to provide opportunities for our finest student soloists and conductors by awarding conducting scholarships and concerto prizes, and it encourages new music by running a composition competition and premièring at least one new work each year. Recent highlights have included a recording of The Epic of Everest’s original score for the British Film Institute, Verdi’s Otello (Act I) conducted by Richard Farnes, J.S. Bach’s Mass in B minor conducted by Sir Roger Norrington and Brahms’ Symphony No.1 conducted by Sir Mark Elder.

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/18 CUMS OFFICERS 2018/19

Cambridge University Musical Society is a registered charity, limited by guarantee (no.1149534) with a board of trustees chaired by Stuart Laing. The Society also administers The CUMS Fund with its own board of Trustees. The day to day running of the ensembles is undertaken by the student presidents and their committees with professional support.

CUMS Student PresidentEd Liebrecht

CUMS Student Vice PresidentHelena Mackie

Vice PresidentsRichard AndrewesNicholas CookSir John Meurig-Thomas

Principal Guest ConductorSir Roger Norrington CBE

CUMS Conductor LaureateStephen Cleobury CBE

Artistic advisorSian Edwards

Director, Cambridge University Symphony ChorusRichard Wilberforce

Director, Cambridge University Chamber ChoirMartin Ennis

Associate Directors, Cambridge University Chamber ChoirDavid LoweNicholas Mulroy

President, Cambridge University OrchestraHermione Kellow

President, Cambridge University SinfoniaCarlos Rodríguez

President, Cambridge University Symphony ChorusLawrence Wragg

Student President, Cambridge University Symphony ChorusAlice Clarke

Presidents, Cambridge University Wind OrchestraRebecca HopperEmily Neve

President, Cambridge University Lunchtime ConcertsLucy Roberts

President, Cambridge University Percussion EnsembleAgnes Fung

President, Cambridge University Chamber ChoirChloe Allison

CUMS Conducting ScholarToby Hession

Assistant ConductorsStephanie ChildressEdward Liebrecht

CUMS Instrument ManagersDave EllisPhilip HowieSam Kemp

Advisors to the ensemblesMaggie HeywoodChristopher LawrencePaul NicholsonMartin RichardsonJohn Willan

Programme designerDima Szamozvancev

Trustees of CUMSDame Fiona Reynolds (chairman)Simon FaircloughJames FurberStephen JohnsJo WhiteheadNigel Yandell

Trustees of the CUMS FundChris FordNicholas ShawAlan FindlayPeter JohnstoneJenny Reavell

Vice ChairmanJo Whitehead

Executive DirectorChloë Davidson

CUMS Senior TreasurerChris Ford

CUMS TreasurerNicholas Shaw

Performance AssistantKatharine Ambrose

Cambridge University Symphony Chorus General ManagerPaul Fray

Concerts and Marketing AssistantRachel Becker

CUMS Librarian and Alumni SecretaryMaggie Heywood

Supporters’ Circle SecretaryChristine Skeen

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LESUPPORT US

Since it was founded in 1843, CUMS has provided unique opportunities for successive generations of Cambridge musicians. It has immeasurably enriched the cultural life of the university and city, and, having launched many of the biggest careers in classical music, it has played a pivotal role in the musical world beyond.

Each year, 500 students — reading everything from Music and Maths to Medicine and Modern Languages — take part in up to 40 concerts, as conductors, instrumentalists, singers and composers. CUMS offers these students opportunities to work with world-class conductors and soloists, tackle ambitious repertoire and develop as musicians.

CUMS receives no core funding from the University, and income from ticket sales does not meet the full cost of delivering a world-class musical education. The Supporters’ Circle plays a vital role in helping to raise the £35,000 needed every year to sustain CUMS’ programme of ambitious projects, which includes orchestral coaching from members of the major London orchestras, and the opportunity to work with professional conductors and soloists.

All those who value Cambridge’s splendid musical heritage, and who want the University to provide opportunities for the finest young musicians of the twenty-first century, are invited to join the CUMS Supporters’ Circle. As well as helping us to fulfil our ambitions, members of the Supporters’ Circle enjoy exclusive benefits, including priority booking, drinks receptions and the opportunity to sit in on rehearsals.

For further details about the Supporters’ Circle, please visit www.cums.org.uk/support. Alternatively, please write to Christine Skeen: christineskeen@gmail.com.

In helping us reach our targets, you will become part of an extraordinary musical tradition. Thank you.

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LE CUMS SUPPORTERS’ CIRCLE

The Britten Circle£10,000+Adrian and Jane Frostand one anonymous donor

The Vaughan Williams Circle£2,500+Monica Chambers

The Stanford Circle£1,000-£2,499 per annumSir Keith Stuart

Principal Benefactors£500-£999 per annumSimon Faircloughand one anonymous donor

Benefactors£250-£499 per annumAngela and Rod Ashby-JohnsonStuart FfoulkesCatriona MillR. MoseyNeil PetersenPeter Shawdonand one anonymous donor

Donors£100-£249 per annumRichard AndrewesJohn BarberFrank and Genevieve BenfieldChris CoffinRobert CulshawMartin DarlingChris FordJon Gisby and Kate Wilson

Andrew and Rachel GraceMichael GwinnellDonald and Rachel HearnPhilip and Lesley HelliarMr Jonathan Hellyer JonesLady JenningsJennie KingChristopher LawrenceDebbie Lowther & John ShortJohn MacInnesAlan C McLeanSue MarshAndrew MorrisPaul NicholsonEdward PowellKathryn PuffettJudith RattenburyRuth RattenburyBrian RushtonCatherine SharpM. L. SharpM. ShawRobert and Christine SkeenAndrew SoundyVeronica and Alex SutherlandGrahame and Cilla SwanDr Patricia TateSir John Meurig ThomasJo StansfieldJo WhiteheadRuth Williamsand seventeen anonymous donors

Honorary Life MemberMaggie Heywood

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CUMS SUPPORTERS’ CIRCLE

MEMBERSHIP FORM

SECTION 1: MEMBERSHIP INFORMATION

Personal details

Name and Address (if different from Sections 2 and 3) ....................................................................................................................................................................................................................................................................................................................................................

Telephone .............................................................

Email .......................................................................

Membership lev el

I would like to join the Supporters’ Circle at the following level:

F The Britten Circle (£10,000+)

F The Vaughan Williams Circle (£2,500+)

F The Stanford Circle (£1,000–£2,499)

F Principal Benefactor (£500–£999)

F Benefactor (£250–£499)

F Donor (£100–£249)

Acknowledgement

F I would like my name acknowledged in CUMS concert programmes and on the CUMS website as ...............................................................................

F I would prefer to remain anonymous

Payment details

I would like to make my donation by:

F Cheque (please enclose a cheque made payable to CUMS)

F CAF Cheque (please enclose a CAF Cheque made payable to CUMS)

F Standing order (please complete Section 2 below)

F Shares (please contact Christine Skeen at the address below)

Amount of Donation: £

SECTION 2: STANDING ORDER MANDATE

(Please complete this section if you would like to make your donation by standing order.)

Name of your bank ...........................................

Address of your bank ...........................................................................................................................

Your sort code ....................................................

Your account number ......................................

Please pay CUMS, Royal Bank of Scotland, Sort code 16-15-19, Account number 10298672 the sum of £..........................

(Print amount: .............................................................pounds)

Per F month F quarter F year

Starting on ...........................................................

Signed ....................................................................

Date .........................................................................

Full name ...................................................................................................................................................

Address .....................................................................................................................................................................................................................................................................................................................................................................................................................

Please return your entire completed

form and payment to Christine Skeen,

Secretary, CUMS Supporters’ Circle,

West Road Concert Hall, 11 West Road,

Cambridge CB3 9DP.

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SECTION 3: GIFT AID DECLARATION

Cambridge University Musical Society (CUMS) is a registered charity (no. 1149534) and as such can claim Gift Aid on eligible donations.

Please treat as Gift Aid donations all qualifying gifts of money made

F today F in the past 4 years F in the future

Please tick all boxes you wish to apply.

I confirm I have paid or will pay an amount of Income Tax and/or Capital Gains Tax for each tax year (6 April to 5 April) that is at least equal to the amount of tax that CUMS will reclaim on my gifts for that tax year. I understand that other taxes such as VAT and council Tax do not qualify. I understand the charity will reclaim 25p of tax on every £1 that I give on or after 6 April 2008.

Title ....................First name or initial(s) ................................................................................................

Surname ............................................................................................................................................................

Full home address .........................................................................................................................................

.................................................................................................................................................................................

................................................................................................. Postcode ............................................

Signature .................................................................................... Date ..............................................

Please notify CUMS if you:

• want to cancel this declaration

• change your name or home address

• no longer pay sufficient tax on your income and/or capital gains

If you pay Income Tax at the higher or additional rate and want to receive the additional tax relief due to you, you must include all your Gift Aid donations on your Self Assessment tax return or ask HM Revenue and Customs to adjust your tax code.

Please return your entire completed form and payment to Christine Skeen, Secretary, CUMS Supporters’ Circle, West Road Concert Hall, 11 West Road, Cambridge CB3 9DP.

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Cambridge University Musical SocietyWest Road Concert Hall

CambridgeCB3 9DP

www.cums.org.uk

Principal Guest Conductor Sir Roger Norrington CBE

CUMS Conductor Laureate Stephen Cleobury CBE

Artistic Advisor Sian Edwards