A Night at the OscarsMonday 21 January 2013, 7.30pm

Programme £3

Before you turn off your mobile phone for tonight’s concert...

On Sunday 10 February, KSO resumes its tradition of sponsored plays in aid of charity. From 12 noon, at the Westfield London shopping centre (nearest tube Shepherd’s Bush), the orchestra will play a marathon six-hour programme of music on the theme of ‘Love and ...’. 70% of the proceeds from the event will be donated to the charity War Child (http://www.warchild.org.uk), with the remainder going to support KSO’s ongoing work with Kampala Music School and Pimlico Academy.

You can donate to this worthwhile cause by text message. Text KENS30 £2/£5/£10 to 70070 to donate now.

If you’ve ever fancied the chance to conduct a symphony orchestra, then this could be your lucky day. We need around 30 volunteer conductors to conduct music from Mozart to Prokofiev. For a donation as low as £40, you can book your slot by visiting http://bit.ly/sponsoredplay.

Children don’t start wars. But their homes, schools, families and communities are torn apart by war. These are the very things children rely on for protection and the chance to build a life free from poverty.

War Child is a small international charity that protects children from the brutal effects of war and its consequences. We’re on the ground in Afghanistan, Central African Republic, Democratic Republic of Congo, Iraq, Uganda and are currently working with Syrian refugees in Lebanon. Our projects help some of the most marginalised children in the world including former child soldiers, children living on the streets, children put in prison and girls at risk of rape or violence.

Registered Charity 1071659

Russell Keable conductorAlan Tuckwood leader

Newman Selznick Studios fanfareSteiner Suite from ‘Gone with the Wind’

Jonny Greenwood Three Scenes from ‘There Will Be Blood’

Gershwin Rhapsody in Blue Richard Uttley piano

Interval

Bennett Waltz from ‘Murder on the Orient Express’

Bernstein Symphonic Suite from ‘On The Waterfront’

Newman 20th Century Fox fanfareJohn Williams Suite from ‘Star Wars’Richard’s appearance is supported by a donation from the Thompson family in memory of Deirdre Thompson. Rhapsody in Blue was a favourite piece of hers.

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Welcome to Southbank Centre and we hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

Eating, drinking and shopping? Southbank Centre shops and restaurants include Riverside Terrace Café, Concrete at Hayward Gallery, YO! Sushi, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon and Feng Sushi, as well as our shops inside Royal Festival Hall, Hayward Gallery and on Festival Terrace.

If you wish to contact us following your visit please contact Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX, or phone 020 7960 4250 or email customer@southbankcentre.co.uk

We look forward to seeing you again soon.

A NIGHT AT THE OSCARS

Like most new industries, the early years of cinema were something of a free-for-all; a mixture of technical innovation, artistic boundary-pushing, hucksterism and exploitation. As the Hollywood studio system matured, its leading figures increasingly wished to present a more respectable image, and also to develop a more professional approach to negotiating with an increasingly organised workforce. To this end, Louis B. Meyer, legendary head of MGM Studios, founded the Academy of Motion Picture Arts and Sciences in 1927.

Any professional body will inevitably wish to celebrate itself in the form of an awards ceremony, and the Academy was no different. The first Academy Awards were duly given in May 1929. MGM’s art director Cedric Gibbons designed a statuette for the awards—a knight in Art Deco style standing with a sword on a film reel with five spokes. This represented the five branches of the academy—Producers, Directors, Writers, Actors and Technicians. The director Emilio Fernández was persuaded to model for the statuette, which was then sculpted by George Stanley.

Quite how and when the figure became known as an ‘Oscar’ is unclear. One story has it that Bette Davis named it for her first husband, Harmon Oscar Nelson, while another has MGM’s executive secretary Margaret Herrick declare upon first seeing it in 1931 that it looked like her Uncle Oscar. At any rate, Walt Disney is on record in 1932 thanking the Academy for his ‘Oscar’, and by 1939 the nickname was officially adopted.

Music was not among the aspects of film included in the original award categories. While experiments in recording sound with film had been taking place since the 1890s, it was only with the release of The Jazz Singer in 1927 that the ‘talkies’ were established as a serious proposition. Composing for film developed rapidly thereafter, and in 1934 this was recognised when the Oscars for Best Original Score and Best Original Song were first awarded. Many of the composers who worked in Hollywood from the 1920s onwards were European, often Austrian immigrants, which accounts for the fact that the classic Hollywood film sound has a distinctly Viennese accent. One of the earliest composers to come

TONIGHT’S PROGRAMME

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Max Steiner

to Hollywood, regarded by many as the father of film composition, was Max Steiner (1888–1971). Born in Austria and taught by Brahms, Steiner was working in England when the First World War broke out, and was interned. Fortunately he had a well-connected fan, the Duke of Westminster, who arranged passage for him to the United States. He initially worked as an orchestrator and composer on Broadway, where he worked on musicals by Jerome Kern and George Gershwin amongst others.

In 1927 he found himself courted by RKO Pictures. RKO was planning to film a musical by Harry Tierney, Rio Rita, and Tierney himself requested that the studio hire Steiner to work on it. Thus in 1929 Steiner moved to Hollywood, where he rapidly made his mark. He was nominated for the first Original Score Oscar in 1934, and although he did not win that one, he went on to receive 24 nominations and three Oscars. Surprisingly, the score for which he is best remembered did not win: Gone With the Wind was not short of awards though, collecting ten Oscars in 1939, a haul that would remain unsurpassed for two decades until Ben Hur in 1961. Producer David O. Selznick would consider no composer but Steiner for the film. He went to considerable expense to borrow him from Warner Brothers, to whom Steiner was contracted. Curiously, Selznick was then reluctant to allow Steiner to compose original music, asking rather for

a score consisting mostly of existing classical music. Steiner however insisted that the lavish epic would only be properly served by an original score. He duly produced it in only three months, resorting to Benzedrine to compose through the night. At over three hours the score was the longest ever composed for a film, a record that would only be beaten by Miklos Rósza’s for Ben Hur 20 years later.

In the 1980s and 1990s lush orchestral soundtracks became unfashionable, as film-makers increasingly preferred compiling playlists of current and cult pop hits. They sometimes suggested more interest in producing a lucrative soundtrack album and showcasing the coolness of the director’s record collection than highlighting the drama and emotion of the film. More recent years have seen a revival of the orchestral score, led this time not by art composers but often by pop musicians expanding their palette. Danny Elfman and David Arnold are two of the most notable names leading this trend, and to that list can now be added Jonny Greenwood (b. 1971). Greenwood made his name as guitarist with Radiohead but has in recent years also gained a considerable reputation as a composer of music for both the classical concert hall and film. Greenwood had already completed one film score, Bodysong, in 2003. However, what

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spurred Paul Thomas Anderson to ask Greenwood to score There Will Be Blood was not that, but the string orchestra piece Popcorn Superhet Receiver which Greenwood had written for the BBC Concert Orchestra.

Greenwood’s score is based in part on the earlier piece and elements from the music for Bodysong, a fact which rendered it ineligible for the Best Original Score award, although the film received eight nominations altogether. The film is set in the early 20th century during the South Californian oil boom, but Greenwood’s score eschews any pastiche of period music styles. The music is instead hallucinatory and unsettling, taking its cue from composers such as Bartók, Messiaen and Penderecki. Anderson was evidently pleased with the result: Greenwood has provided the music for his latest film, The Master.

Apart from original music, Hollywood has a long tradition of pilfering from pre-existing music which stretches back right to the dawn of cinema. ‘Silent’ films were of course no such thing. They were always presented with musical accompaniment, ranging from a solo pianist improvising to a full orchestra playing a specially composed score. Fully original scores were rare. More often the soundtrack would consist of adaptations of popular classics, old parlour songs and current hits—whatever the musicians performing had in their repertoire that seemed to suit the mood of the scene they were accompanying. When the ‘talkies’ arrived this tradition continued. George Gershwin’s (1898–1937) 1924 sensation Rhapsody in Blue found itself used as a soundtrack as early as 1929, when it appeared in the short St Louis Blues, a film that won no Oscars but is notable as the only existing footage of the great blues singer Bettie Smith. The following year the band leader Paul Whiteman included it in a revue film named for his own self-aggrandising nickname, The King of Jazz. It won an Oscar for Best Art Direction (and was the first feature-length musical filmed entirely in Technicolor).

Whiteman had commissioned the Rhapsody for a concert he gave called ‘An Experiment in Modern Music’ at the Aeolian Hall in New York, an early example of ‘crossover’ Jonny Greenwood

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TONIGHT’S PROGRAMME

programming. Legend has it that Gershwin promptly forgot about the commission and was only reminded about it only when he saw an article in the New York Tribune announcing that he was contributing a ‘jazz concerto’ to the show; he then composed his contribution in a fortnight. Since then, Gershwin generally and the Rhapsody specifically have become a frequent standby in film to signify New York. It even gave its title to a 1946 biopic of Gershwin, which received two nominations for its score and sound. At the turn of the century it was the soundtrack to one of the most successful sequences in Disney’s long-awaited sequel to Fantasia. However, surely the most memorable use of the Rhapsody in film is the opening sequence from Woody Allen’s 1979 masterpiece Manhattan, where Allen’s writer character struggles in the book he is writing to evoke New York, while Gershwin does so effortlessly. Allen was nominated for Best Screenplay, and along with Annie Hall, Manhattan is still considered by many to be the peak of his work.

The death on Christmas Eve of Sir Richard Rodney Bennett (1936–2012) brought to a close one of the most remarkable and varied careers in British music since the war. He composed music in a wide array of styles, as befits a man who studied with Boulez but was also a talented jazz pianist. His film and television work ranged from Doctor Who to Four Weddings and a Funeral, and along the way he picked up three

Oscar nominations, including one for his breezy score for the 1974 adaptation of Murder on the Orient Express.

As an authentically American music, jazz has long cast its influence over Hollywood soundtracks. Leonard Bernstein’s (1918–1990) varied career, as a musician trained in high classicism but happy to take on popular styles, might suggest him as a natural to compose film music. Surprisingly, he wrote only one original film score. That one, however, is a masterpiece: his brooding, jazz-inflected score for Elia Kazan’s classic 1954 crime drama On the Waterfront. Bernstein found working on the film difficult, largely because of the inevitable cuts to his score that came as the film was edited. After he made a plea to retain ‘a particularly beloved G flat’, it was suggested that he compile a concert suite to make use of the music lost from the film. The resulting concert piece combines music both used in and discarded from the film. While the piece more or less follows the chronology of the film, Bernstein’s biographer Humphrey Burton suggests that it ‘can be seen as a 20th-century equivalent of Tchaikovsky’s fantasy overture Romeo and Juliet, with the film’s principal characters, Terry and Edie, as the star-crossed lovers’.

On the Waterfront gained 12 Oscar nominations and won eight. Bernstein’s music was one of the nominees, but not one of the winners, losing out to Dimitri Tiomkin for Best Original Score. Perhaps this, along with the difficulties of having to lose so much music that he was proud of, contributed to

George Gershwin

Richard Rodney Bennett

TONIGHT’S PROGRAMME

Bernstein not working on another film score. He would receive recognition indirectly from the Academy in 1961, when the film of West Side Story took a total of ten awards, the most ever won by a musical.

Walt Disney’s 59 Oscar nominations is a record that seems unlikely to be beaten, but the closest anyone has come is John Williams (b. 1932), who has recently received his 48th Oscar nomination, for Spielberg’s Lincoln. The nomination is also his 43rd for Original Score, which equals Alfred Newman’s (1901–1970) tally for that particular award, although Newman remains ahead in wins (nine in total to Williams’s five). For a generation of cinema-goers, Newman’s iconic 20th Century Fox fanfare (he also wrote the Selznick Studios fanfare that precedes Gone With the Wind tonight) is the essential prelude to a latter-day classic that has become a phenomenon: Williams’s unforgettable theme for Star Wars.

George Lucas’s sci-fi epic has become not so much a film as a subculture, spawning two sequels, three prequels and innumerable cartoons, books, comics and toys, and legions of devotees. Some fans went as far as to declare their religion as ‘Jedi’ in the 2011 census. The recent announcement that the Walt Disney Corporation has taken control of the franchise means that the juggernaut will not stop any time soon, with three more films announced for release from 2015.

Star Wars is on the surface a tribute to the cinema serials of the 1930s in which heroes such as Flash Gordon and Buck Rogers battled alien threats. Beyond this, however, it is a love letter to a previous age of film-making. Lucas pays homage to many specific films and scenes directly (particularly Kurosawa’s The Hidden Fortress), and the epic westerns of John Ford, the swashbuckling of Errol Flynn and the classic war films of the 1940s and 1950s all leave their imprint. In an early cut of the film, before the special effects had been completed, Lucas even used footage of Second World War fighter planes to stand in for the space battles. John Williams also recalls Hollywood’s golden age, in a sweeping, romantic score that evokes the spirit of the great pioneers of film music.

© 2013 Peter Nagle

Leonard Bernstein

Alfred Newman John Williams

KSO2: Russell Keable returns to conduct in KampalaBuilding Bridges Through Music is an enterprise set up in 2010 to connect Kensington Symphony Orchestra with music schemes in Uganda. Accompanied by KSO violin Helen Turnell, Russell returned to Kampala in September 2012 to conduct the Kampala Symphony Orchestra in two more classical music concerts.Rehearsals were held in the new Kampala Music school (KMS) premises with more practice rooms and sufficient space for the full orchestra. The regular conductor, Kiggunde Fred Musoke, has continued to drive the school forward and has recently been appointed as its new executive director. For this week, Fred moved over to the role of piano soloist, ably demonstrating his breadth of skill as well as his passion for music.

Our first visit found the orchestra very much in its infancy. Two years on there is clear progress: a rise in the number of players and their growing sense of being a successful ensemble. They played more musically and fluidly this time, all contributing to a growing confidence in themselves (one of the major aims of all this work). The first concert was outdoors, marking the opening of a significant exhibition and attended by many politicians and diplomats. What was most striking wasn’t the ‘official’ audience but the large crowds of locals standing around the edge of the exhibition area. They stood for the whole hour of playing and were obviously excited by the sound. Within two days of the event two ladies had signed up for music lessons at the Kampala Music School because ‘we’ve never heard anything like that before and want to be part of it’.The indoor concert was longer and included the Grieg Piano Concerto. The room was filled to capacity, mostly with Ugandans. Their response to the music was quite exhilarating. One participant commented on Facebook: ‘Full house and all,

and so many children, which was lovely!!! Great atmosphere, and Russell was great with audience and orchestra. He really transformed us, sound, rhythm, attack, phrasing and all!! And did so in such subtle ways that worked ever so well.’The Kampala Symphony Orchestra is made up of Ugandans from many different backgrounds. Currently the backbone of the brass section comes from the M-Lisada band (orphans who have been rescued, through music, from living on the streets of Kampala). The passionate commitment and enthusiasm for playing with an orchestra from these guys is astonishing and moving. As the orchestra’s reputation grows, their performances will help to attract new players and gain more commitment from existing members.Throughout the two years since the start of Building Bridges Through Music, many members of the project have contributed instruments and music, and have generously supported various fund-raising initiatives. Last year KSO donated 6 million Ugandan shillings (£1,500) towards the cost of the new KMS building. Primarily the KSO2 link provides the opportunity for sharing skills. Russell’s inspirational conducting was pivotal to the development of the orchestra and the expansion of the school. However, a critical shortage of instrumental teaching skills persists, and we would welcome contacts with musicians who might be interested in visiting Kampala to teach, whether short or longer-term. KSO2 is just one of several outreach programmes connecting music networks. Through it, KSO-London continues to make a real difference to KMS and KSO-Uganda. Thanks to all for your continued support.For more information see kampalamusicschool.com, mlisada.com and friendsofkms.org.uk.

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 was 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 nearly 30 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). He has also made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York.

Russell Keable is recognized as a dynamic lecturer and workshop leader. He has the rare skill of being able to communicate vividly with audiences of any age (from school children 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 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 whilstworking in prisons and special needs schools.

RUSSELL KEABLE CONDUCTOR

BIOGRAPHIES

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RICHARD UTTLEY PIANO

Born in Bradford in 1987, Richard Uttley read Music at Cambridge University, graduating in 2008 with a Double First. He studied with Ian Buckle for ten years, and since 2008 with Martin Roscoe at the Guildhall School of Music & Drama, where he was appointed a Fellow and is currently undertaking an Artist’s Diploma. In 2010 he was awarded a Distinction in his Master’s and won First Prize in the Haverhill Sinfonia Soloist Competition. He was selected for representation by Young Classical Artists Trust in 2011.

Over the last two years Richard has given recitals at major venues and festivals throughout the UK including the Royal Festival Hall (where his programme included the première of Barkham Fantasy by Mark Simpson), Bridgewater Hall, Wigmore Hall and Purcell Room (for the Park Lane Group), the City of London Festival, Lincolnshire International Chamber Music Festival, Ribble Valley International Piano Week and the Huddersfield Contemporary Music Festival. In 2012 he was resident at the Banff Centre for the Arts and took part in the Schwetzinger Festspiele Chamber Academy. Engagements this season include recitals at Wigmore Hall, the Nottingham International Piano series and solo appearances with the Brighton Philharmonic and National Symphony Orchestras.

A passionate exponent of new music, in 2009 he worked with Louis Andriessen in a BBC Proms Composer Portrait recorded by Radio 3 and in 2011 with Brian Ferneyhough as part of a BBC Total Immersion Day followed by a studio recording for the ‘Hear and Now’ programme. His concerto work has included performances of works by Gershwin (Symphony Hall Birmingham), Grieg (Cadogan Hall), Beethoven, Mozart, Brahms, Poulenc, Rachmaninov and Ravel, as well as music by Adams (Grand Pianola Music) and Stockhausen (Kontra-Punkte).

Richard has released two discs of 20th- and 21st-century piano music on the UH Recordings label to critical acclaim. The first CD features première recordings of works by Robin Holloway and led to a Rising Star feature in BBC Music Magazine. He has also commissioned works from composers including Timothy Jackson, Mark Simpson and Chris Willis, with funds from UH Recordings and the RVW Trust. As a

chamber musician Richard regularly works with singers and instrumentalists and has played orchestral piano for the Royal Liverpool Philharmonic Orchestra and their contemporary chamber group, Ensemble 10:10.

During his studies Richard won numerous prizes and awards, including 1st prize in the Moray Piano Competition 2005 and the British Contemporary Piano Competition 2006. He has received awards from the Hattori Foundation, Martin Musical Scholarship Fund, Musicians’ Benevolent Fund, Tillett Trust, the Arts & Humanities Research Council and Worshipful Companies of Drapers and Salters.

Aside from classical music, Richard loves film (particularly Alfred Hitchcock and Woody Allen), the novels of Ian McEwan, and musicals by Stephen Sondheim. He also composes occasionally, his short song cycle Five Yeats Songs having been performed by baritone Stephen Varcoe and pianist Christina Lawrie.

BIOGRAPHIES

BIOGRAPHIES

KENSINGTON SYMPHONY ORCHESTRA

In its 57th year Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest amateur orchestras in the UK. Its founding premise—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. It regularly attracts the best non-professional players from around London. It seems extraordinary that KSO has had only two principal conductors—the founder, Leslie Head, and the current incumbent, Russell Keable. The dedication, enthusiasm and passion of these two musicians has indelibly shaped KSO’s image, giving it a distinctive repertoire which undoubtedly sets it apart from other groups. Its continued commitment to the performance of the most challenging works in the canon is allied to a hunger for new music, lost masterpieces, overlooked film scores and those quirky corners of the repertoire that few others dare touch.

Revivals and premières, in particular, have peppered the programming from the very beginning. In the early days there were world premières of works by Arnold Bax and Havergal Brian, and British premières of works by Nielsen, Schoenberg, Sibelius and Bruckner (the original version of the Ninth Symphony). When Russell Keable arrived in 1983, he promised to maintain the distinctive flavour of KSO. As well as the major works of Mahler, Strauss, Stravinsky and Shostakovich, 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, which is now available on the Dutton label.

New music has continued to be the life-blood of KSO. An impressive roster of contemporary composers has been represented in KSO’s progressive programmes, including Judith Weir, Benedict Mason, John Woolrich, Joby Talbot and Peter Maxwell Davies. Two exciting collaborations with the BBC Concert Orchestra have been highlights: Bob Chilcott’s Tandem and the première of Errollyn Wallen’s lively romp around the subject of speed dating, Spirit Symphony, at the Royal

Festival Hall, both of which were broadcast on BBC Radio 3. In December 2005, Spirit Symphony was awarded the Radio 3 Listeners’ Award at the British Composer Awards. Russell Keable has also written music for the orchestra, particularly for its education projects, which have seen members of the orchestra working with schools from the inner London area.

In 2006 KSO marked its 50th anniversary. The celebrations started with a ball at the Radisson Hotel, Portman Square in honour of the occasion, attended by many of those involved with the orchestra over the previous 50 years. The public celebration took the form of a concert at London’s Barbican in October. A packed house saw the orchestra perform an extended suite from Korngold’s score The Sea Hawk, Rachmaninov’s Piano Concerto No. 2, with established KSO collaborator Nikolai Demidenko, and Prokofiev’s cantata Alexander Nevsky, with the London Oriana Choir.

KSO has an honourable pedigree in raising funds for charitable concerns. Its very first concert was given in aid of the Hungarian Relief Fund, and since then the orchestra has supported the Jacqueline du Pré Memorial Fund, the Royal Brompton Hospital Paediatric Unit, Trinity Hospice, Field Lane, Shape London and the IPOP music school. 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.

The reputation of the orchestra is reflected in the quality of international artists who regularly appear with KSO. In recent seasons soloists have included Nikolai Demidenko, Leon McCawley, Jack Liebeck and Richard Watkins, and the orchestra has worked with guest conductors including Andrew Gourlay and Nicholas Collon. All have enjoyed the immediate, enthusiastic but thoroughly professional approach of these amateur musicians.

Without the support of its sponsors, its Friends scheme and especially its audiences, KSO could not continue to go from strength to strength and maintain its traditions of challenging programmes and exceptionally high standards of performance. Thank you for your support.

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SUPPORTING KENSINGTON SYMPHONY ORCHESTRA

SponsorshipOne 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, e-mail sponsorship@kso.org.uk or call James Wheeler on 07808 590176.

The KSO Endowment TrustAn Endowment Trust has been established by Kensington Symphony Orchestra in order to enhance the orchestra’s ability to achieve its charitable objectives in the long term.

The Trust will manage a capital fund derived from donations and legacies. Each year, the Trustees will make grants from its income to assist important KSO projects and activities, such as commissioning new music, which would be impossible to finance relying on concert funds alone.

Our aim is to raise at least £100,000 over the next ten years. We would be pleased to hear from individuals or organisations who would like to donate any sum, large or small, and would also be keen to talk to anyone who might consider recognising KSO’s work in their will.

For further information, please e-mail trust@kso.org.uk or telephone Neil Ritson on 07887 987711.

Kensington Symphony Orchestra, now in its 57th season, is widely considered to be London’s premier non-professional orchestra. However, we receive no Arts Council or local government funding, and the challenge of generating sufficient revenue to enable the continuation of our six-concert season and other associated activities grows ever more pressing.

YOUR SUPPORT

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YOUR SUPPORT

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

Friend

Unlimited concession 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 57th Season is:

Friend £50 Premium Friend £110 Patron £200

To contribute to KSO through joining the Friends please contact David Baxendale on 020 8653 5091 or by e-mail at friends@kso.org.uk.

Honorary Friends

Michael Fleming Leslie Head

Patrons

Gill Cameron Bob Drennan Malcolm and Christine Dunmow Gerald Hjert Daan Matheussen David and Mary Ellen McEuen Linda and Jack Pievsky Neil Ritson and family Kim Strauss-Polman

Premium Friends

David Baxendale Fortuné and Nathalie Bikero John Dale John Dovey Michael and Caroline Illingworth Maureen Keable David and Rachel Musgrove Joan and Sidney Smith

Friends

Robert and Hilary Bruce Michele Clement Joan Hackett Robert and Gill Harding-Payne Henry and Sarah Keighley-Elstub Rufus Rottenberg

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.

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First ViolinAlan Tuckwood leaderJason WeirMatthew HickmanVidel Bar-KarSarah Keighley-ElstubAdrian Gordon Taro VisserJo JohnsonSarah HackettKatie DickerHelen TurnellHannah BrownLouise RingroseOla TornkvistClaire DoveySabina WagstylClaire MaughamHeather Bingham

Second ViolinDavid PievskyRufus RottenbergJuliette BarkerSusan KnightZami JalilRichard SheahanDavid NagleFrançoise RobinsonJeremy BradshawJill IvesEmma NabavianKathleen RuleJudith Ní BhreasláinLiz ErringtonDanielle DawsonWendy JefferyElizabeth Bell

ViolaBeccy Spencer Guy Raybould Sally RandallZen EdwardsCamilla DervanLucy Ellis Toby DellerNick MacraeSonya Brazier Phil CooperAlison NethsinghaSophie Zaaijer

CelloJoseph SpoonerLois MattsonKim PolmanAnna BakerAnna UnwinDavid BaxendaleCat MugeAnna HamiltonPeter NagleBecca WalkerAlex DinwiddieRosie Goddard

Double BassPhil ChandlerSteph FlemingOliver BatesGisella FerrariPaul HornerLewis Tingey

FluteJudith JeromeClaire Pillmoor

PiccoloIngrid van Boheemen

OboeCharles BrenanSarah Bruce

Cor Anglais Chris Astles

ClarinetChris HorrilClaire Baughan

Bass ClarinetGraham Elliott

E-flat ClarinetChristopher Walters

SaxophoneIan NoonanChristopher WaltersAdele Gordon

BassoonNick RampleySheila Wallace

ContrabassoonRobin Thompson

TONIGHT’S ORCHESTRA

Music DirectorRussell Keable

TrusteesChris AstlesDavid BaxendaleCat MugeHeather PawsonNick RampleyNeil RitsonRichard SheahanSabina WagstylJames Wheeler

Event TeamChris AstlesZen EdwardsBeccy SpencerSabina Wagstyl

Marketing TeamJeremy BradshawJo JohnsonDavid MusgroveGuy RaybouldLouise Ringrose

Membership TeamPhil CambridgeDavid BaxendaleCat Muge

ProgrammesDavid Musgrove

French HornJon BoswellHeather PawsonJim MoffatEd Corn

TrumpetSteve WillcoxJohn HackettLeanne Thompson

TrombonePhil CambridgeKen McGregor

Bass TromboneDavid Musgrove

TubaNeil Wharmby

Timpani& PercussionTim AldenAndrew BarnardJoe KearneyTommy PearsonRichard SouperSimon Willcox

HarpDaniel de-Fry

Piano/CelestePeter Archontides

KENSINGTON SYMPHONY ORCHESTRA

Music DirectorRussell Keable

TrusteesChris AstlesDavid BaxendaleCat MugeHeather PawsonNick RampleyNeil RitsonRichard SheahanSabina WagstylJames Wheeler

Event TeamChris AstlesZen EdwardsBeccy SpencerSabina Wagstyl

Marketing TeamJeremy BradshawJo JohnsonDavid MusgroveGuy RaybouldLouise Ringrose

Membership TeamPhil CambridgeDavid BaxendaleCat Muge

ProgrammesDavid Musgrove

We all admire high performance, tonight we celebrate it.

INTECSEA applauds KSO for being a showcase of artistic excellence and high performance. We celebrate their achievements and are proud to support excellence in the arts.

INTECSEA is the one the world’s leading independent deepwater engineering and project management companies, providing full-service global solutions in the subsea, pipeline and floating production arenas.

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Kensington Symphony Orchestra 57th Season 2012–13

Tickets for the remaining concerts in our 57th season may be purchased by emailing tickets@kso.org.uk

Sunday 10 February 2013, 12 noon Westfield London Shopping Centre, Shepherd’s Bush

Sponsored play in aid of the charity War Child, featuring music on the theme of ‘Love and...’Please donate at http://www.justgiving.com/kso

Saturday 9 March 2013, 7.30pm St John’s, Smith Square with guest conductor Stuart BarrGlinka Overture: Ruslan and LyudmilaSchoenberg Verklärte NachtRimsky-Korsakov Scheherazade

Tuesday 21 May 2013, 7.30pm St John’s, Smith Square

Mahler Symphony No. 7

Monday 24 June 2013, 7.30pm St John’s, Smith Square

Matthew Taylor Storr Lyadov Eight Russian Folk SongsDvorák SymphonyNo.7