55th SEASON

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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. During the interval and after the concert the Restaurant in the Crypt is open for licensed refreshments. Please ensure that all digital watch alarms, pagers and mobile phones are switched off.

Box office tel: 020 7222 1061. Website: www.sjss.org.uk. For details of future events at St. John’s please send £8.00 annual subscription to the box office.

St. John’s, Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. General Manager: Paul Davies.

Andrew Gourlay conductorAlan Tuckwood leader

Martinů Memorial to Lidice

Stravinsky Symphony in Three Movements

Interval – 20 minutes

Vaughan Williams A Pastoral Symphony Soprano: Lauren Fowler

Saturday 12 March 2011, 7.30pm St. John’s, Smith Square

pilotPARTNERSis proud to sponsor this evening's concert -

playing that is imaginative, focused, resourceful and

challenging. Just like us...

Interim management specialists

for challenging situations in the UK and Europe

Contact

James Wheeler or Michael Gebauer

T: 0780 859 0176

E: info@pilotpartners.eu

W: www.pilotpartners.eu

Pilot_A5Concert:Layout 1 30/01/2009 12:07 Page 1

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TONIGHT’S PROGRAMME

BOHUSLAV MARTINŮ 1874–1951

Memorial to Lidice

Of all the atrocities of the Second World War, the fate of the Czech village of Lidice stands out. It is not simply its brutality, but its openness: whereas the Nazis hid the true nature of such horrors as the concentration camps, they proudly proclaimed what they did to Lidice.

After invading in 1939, the Nazis established the Protectorate of Bohemia and Moravia in the occupied areas of Czechoslovakia. In May 1942, Reinhard Heydrich, the deputy Reichsprotektor for the protectorate, was attacked by two members of the Czech resistance. He was hospitalised and died in June. The order went out, apparently from very high up in the Nazi command—Himmler or even Hitler himself—that reprisals would be made. Any village found to have been sheltering the resistance would be destroyed.

Lidice was a known centre of hostility to the regime, and so the German Army surrounded the village. All the male villagers were marched to the edge of the village and shot, five at a time, until the commanding officer decided that the executions were proceeding too slowly and ordered them to be killed in tens. Meanwhile, the women and children were rounded up and imprisoned in the school. They were then removed to the school in the nearby town of Kladno. After three days the women and children were separated. Four women who were pregnant were given forced abortions, and all the captured women were sent to the concentration camp at Ravensbrück. Disease, starvation, madness and murder killed many of them. The children, meanwhile, were transported to factories as labour. Most of them were later sent on to the gas chambers. Of 105 children, only 17 survived. The village itself was burned to the ground. In all some 340 people died either in the village or as a result of their imprisonment.

In contrast to other massacres that were kept secret, the events in Lidice were openly reported by the Nazis as propaganda. When the Allied media picked up the story it predictably caused outrage. Towns, neighbourhoods, streets and squares all over the world renamed themselves Lidice, in order that the village’s name should live on in defiance of Hitler’s intention. Coal miners in Stoke-on-Trent founded Lidice Shall Live!, a campaign which raised funds to rebuild the village. After the war a new village was established overlooking the site of the old one, and those few villagers who had survived returned home from 1949 onwards.

At the time Czechoslovakia was invaded, Bohuslav Martinů was in Paris. Blacklisted and unable to return to his homeland, he made his way (with some difficulty) to America in 1940. In 1943 he produced his orchestral threnody in memory of the victims of the massacre. It is built around the St Wenceslaus Chorale, a 13th-century hymn in honour of the patron saint of the Czech state. At the climax Martinů quotes the famous motto of Beethoven’s Fifth Symphony. These four notes were much heard at the time. They had been appropriated by broadcasters as a symbol of freedom, as their rhythm equals the Morse Code signal for the letter V.

Bohuslav Martinů

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Symphony in Three Movements

1. aaaaq=1602. Andante; Interlude: L’istesso tempo—3. Con moto

Stravinsky’s flight to America in 1939 was his second exile. The Russian Revolution of 1917 had deprived him of his security, his nationality and even his language; now the prospect of war threatened him once again. The United States seemed the best place to go. His music was still popular there, whereas in Europe his more recent work had been more coldly received. Above all, the USA seemed politically stable. His experiences leaving Russia had left him with a deep-seated fear of chaos, and what he craved above all was order. The death of his daughter from tuberculosis in the winter of 1938, followed rapidly by that of his wife in early 1939, increased his sense that his life was collapsing around him. So it was that he travelled on a French passport to New York in September 1939. His long-time mistress Vera followed him in January 1940, and following their marriage in March they applied for American citizenship. By then Stravinsky had settled in Los Angeles, where he would remain for almost the rest of his life. His new circle of friends at first consisted largely of fellow expatriates, but as his English improved he ingratiated himself with Hollywood: Charles Laughton and Charlie Chaplin were among the stars who became close friends.

He had been catapulted into a new and very different economy to the sort he was used to. All his initial projects in his new country were desperate attempts to produce a commercial hit. He wrote a tango for Benny Goodman. He hoped that it would be recorded and that lucrative song and dance-band arrangements might be created, but nothing came of these hopes. One novelty that did prove a hit was the Circus Polka, a commission from the Barnum and Bailey Circus for their elephants to dance to. The elephants apparently found Stravinsky’s rhythms rather taxing, but the show was a great success and was performed more than 400 times.

An obvious route to explore in Hollywood was music for film, and Stravinsky’s name was attached to a number of cinematic projects. In fact no contracts were signed for any of these and no scores completed, so it is unclear how serious any of this ever was. One of these aborted film projects was The Song of Bernadette, based on a novel by another European refugee, Franz Werfel (third husband of Mahler’s widow Alma). The job of scoring the film was eventually passed to Alfred Newman, the composer of the 20th Century Fox fanfare; his music won one of the four Oscars that the film received in 1943. Meanwhile, Stravinsky was working on what

IGOR STRAVINSKY 1882–1971

Igor Stravinsky

TONIGHT’S PROGRAMME

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TONIGHT’S PROGRAMME

would become his first substantial American work: the Symphony in Three Movements. He worked on it for three years from 1942, and its première came as the war was drawing to a close. It was acclaimed as a war symphony, celebrating the impending Allied victory. Stravinsky was happy to go along with this interpretation. Along with the vigorous jazz-inflected rhythms of the music, it cemented his new identity as an American citizen.

Stravinsky is famous for denying that music can express “anything but itself”, but unusually he provided a great deal of information about the inspirations for this symphony. Over time this evolved into virtually a comprehensive programme. This may be because he wanted to demonstrate his loyal patriotism to his new country, but it may also have been a form of damage limitation: while certainly no friend of the Nazis, he had before the war been a vocal and enthusiastic supporter of Mussolini. He would therefore have been very keen to bury such embarrassing affiliations and loudly proclaim his support for the Allies. The first movement, he said, was inspired by a documentary film on the effects of the war on China, particularly the “Scorched Earth” tactics employed by the Chinese resistance and footage of peasants working in the fields. The opening of the finale, meanwhile, he declared to be inspired by newsreel images of goose-stepping Nazis, and the latter part of the movement by footage of the Allied troops’ successes. The middle movement, meanwhile, was an adaptation of some of the unused music from Song of Bernadette. It was originally intended to accompany a scene of an apparition of the Virgin Mary, he said. The truth of this is moot: the evidence suggests that he began writing this music some months after the proposed commission for that film fell through.

If there were extra-musical forces behind the music they may have been closer to home. In 1942 when the USA entered the war, Stravinsky was legally required to sign up for war-defence work, and found himself building a hen-coop and kitchen garden. He grew fond of the hens: “I like their rhythmic clucking,” he told a reporter. It is perhaps not too fanciful to hear some of that clucking in the quieter moments of the symphony.

It seems most likely that he simply tried to overcome the chaos of war and exile by engaging with the orderly problems of symphonic form. The puzzle was how to reconcile his own rather episodic approach to composing with the sort of organic development expected of a symphony. The origins of the movements are very different: the first began life as a piano concerto, and hence has a prominent role for that instrument. The second features the harp equally prominently. How to reconcile these contrasting instruments and their associated styles is then explored in the finale, before an abruptly assertive conclusion. Stravinsky suggested that this end represents an anticipation of the Allied victory, but later contradicted himself: “In spite of what I have said, the Symphony is not programmatic. Composers combine notes. That is all. How and in what form the things of this world are impressed upon their music is not for them to say.”

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TONIGHT’S PROGRAMME

RALPH VAUGHAN WILLIAMS 1872–1958

A Pastoral Symphony

1. Molto moderato2. Lento moderato—Moderato maestoso3. Moderato pesante4. Lento

“I feel that perhaps after the war England will be a better place for music than before —largely because we shan’t be able to buy expensive performers etc. like we did.”

Vaughan Williams was already 41 when war broke out in 1914. Nevertheless he enlisted in the Royal Army Medical Corps on New Year’s Eve. Following training, his division was mobilised and departed for Ecoivres in France on Midsummer’s Day 1916. That day he wrote to his friend Gustav Holst with his sardonic observation as to the artistic benefits of the war. Like everyone else, he was to receive a rude awakening. His next letter to Holst, written from France, is altogether more sombre: “I’ve indeed longed to be home in many ways during the last month—but in other ways I should not like to come home for good till everything is over, or in some other normal way… I sometimes dread coming back to normal life with so many gaps… out of those 7 who joined up together in 1914 only 3 are left—I sometimes think now that it is wrong to have made friends with people much younger than oneself—because soon there will only be the middle aged left—and I have got out of touch with most of my contemporary friends—but then there is always you and thank Heaven we have never got out of touch and I don’t see why we ever should.”

Vaughan Williams’s duties involved assisting the evacuation of the wounded from the front. This was dangerous work, as the roads had been all but destroyed by shelling. The shifts were two hours at a stretch in land all but razed to the ground, surrounded by corpses and rats. He escaped the trenches in November when his unit was transferred to Salonika. He later returned to France as an officer in the Royal Artillery, before the end of the war brought his discharge back to civilian life.

Like so many others, Vaughan Williams never spoke publicly about his experiences, but they left a deep and lasting impression on him. The music he wrote in the aftermath of the war is superficially not vastly different in style to his pre-1914 work. However, it is noticeably more introverted, imbued with a quiet intensity that borders on the mystical. In this he reflected his time: spiritualism was highly popular in England in the early years of the 20th century. The

Ralph Vaughan Williams

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TONIGHT’S PROGRAMME

massive loss of life caused by the war only boosted such interests as the bereaved turned to the Ouija board and other methods to attempt to contact the dead.

The title A Pastoral Symphony invites certain assumptions, both about the specific work and Vaughan Williams’s music in general. The composer and critic Phillip Heseltine (a.k.a. Peter Warlock) famously remarked that “it is all just a little too much like a cow looking over a gate”. (It should be noted however that while Warlock passed this general judgement on Vaughan Williams’s music, he regarded the Pastoral Symphony as “a truly splendid work”.) Many critics similarly dismissed the symphony on its first performance in 1922. Vaughan Williams never responded publicly to these sorts of judgements, but after his death his widow revealed what he had told her: “It’s really wartime music —a great deal of it incubated when I used to go up night after night with the ambulance wagon at Ecoivres and we went up a steep hill and there was a wonderful Corot-like landscape in the sunset—it’s not really lambkins frisking at all as most people take for granted.” It is not rolling English hills depicted, but the battle-scarred fields of Northern France, where the composer’s friends met their deaths along with the best part of a generation of men.

Sir Adrian Boult, who conducted the première, recalled that many were less than enthused when the composer announced “it is in four movements, all of them slow”. The Pastoral Symphony is concerned not with a rapid succession of events, but with expressing many permutations of a single state, just as a landscape changes with the light. Thus the opening’s pallid textures contrast with the darker hues of the second movement. The latter’s trumpet cadenza, later reprised by a horn, derives from a memory of hearing a bugler practising in the fields. Vaughan Williams characterised the third movement as “in the manner of a slow dance”. It has a weariness about it, which twice rouses itself into something more energetic. The end of this movement contains the only really fast music of the symphony, a spectral dance that may have magical overtones. It derives from sketches made before the war, when Vaughan Williams contemplated setting the fairy scene from The Merry Wives of Windsor. It is perhaps a fleeting glimpse of a more innocent time that the war has obliterated.

The finale introduces a human element into the landscape: a wordless soprano, who opens and closes the movement. Stories abound of visions of angels seen by soldiers in the trenches, and perhaps this is a reflection of that (especially following on from “fairy” music). The orchestra takes up this vocalise at the climax, when the grief that underlies the whole symphony finally breaks to the surface, before the soprano is heard again, distant and retreating into silence.

© 2011 Peter Nagle

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BIOGRAPHIES

ARTISTS’ BIOGRAPHIES

Andrew Gourlay conductor

Andrew Gourlay is the Assistant Conductor to Sir Mark Elder and the Hallé, and Music Director of the Hallé Youth Orchestra. As the recent winner of the Cadaques International Conducting Competition, his First Prize secures concerts with 29 orchestras around the world, including the Royal Flemish Philharmonic and BBC Philharmonic.

Born in Jamaica, Andrew grew up in the Bahamas, Philippines, Japan and England. A pianist and trombonist by training, he conducted his first concerts at Manchester University whilst studying on the prestigious Joint Course with the Royal Northern College of Music. He subsequently won a Postgraduate Scholarship to study conducting at the Royal College of Music in London, where he prepared Bruckner symphonies for Bernard Haitink and Mozart symphonies for Sir Roger Norrington.

Andrew was selected by Gramophone in 2010 as their “One to Watch”. In 2008 he was chosen to conduct the London Symphony Orchestra in a public masterclass with Valery Gergiev. Other masterclasses have included several with Bernard Haitink.

Andrew has conducted BBC Radio 3’s Discovering Music programme, as part of the London Jazz Festival. In 2010 he replaced Sir Colin Davis in the final concert of the Barbican Young Orchestra. He has worked at the Royal Ballet as Cover Conductor for Barry Wordsworth. Opera work has included Rusalka and La Tragédie de Carmen as Staff Music Director of English Touring Opera, and The Marriage of Figaro at the Benjamin Britten International Opera School.

A professional trombonist until his mid twenties, Andrew had by the age of 25 freelanced with the Hallé, BBC Philharmonic, BBC National Orchestra of Wales, Philharmonia, Opera North and London Sinfonietta. He had toured South America and Europe as a member of the Gustav Mahler Jugendorchester under Claudio Abbado. Chamber music highlights include winning the Royal Over-Seas League Music Competition and concerts with the London Mozart Players Brass Quintet.

Andrew has presented The Early Music Show and several features on BBC Radio 3.

www.andrewgourlay.com

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Kensington Symphony Orchestra

In its 55th 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.

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ARTISTS’ BIOGRAPHIES

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ARTISTS’ BIOGRAPHIES

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 of recent seasons: 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 recent 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 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 in recent years 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.

The reputation of the orchestra is reflected in the quality of international soloists who regularly appear with KSO—these have included Nikolai Demidenko, Nicholas Daniel, Tasmin Little and Steven Isserlis—each enjoying 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.

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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To 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 55th 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 email at friends@kso.org.uk.

Honorary Friends

Michael FlemingLeslie Head

Patrons

Gill CameronMalcolm and Christine DunmowGerald HjertDavid and Mary Ellen McEuenLinda and Jack PievskyNeil Ritson and family

Premium friends

David BaxendaleBarbara BedfordFortuné and Nathalie BikoroJohn DaleJohn DoveyMaureen KeableDavid and Rachel MusgroveJoan and Sidney Smith

Friends

Anne BaxendaleJoan HackettRobert and Gill Harding-PayneMrs Dorothy PatrickPeter and Marie RollasonSandy Shaw

FRIENDS OF KSO

YOUR SUPPORT

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YOUR SUPPORT

OTHER WAYS TO SUPPORT US

Sponsorship

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 James Wheeler on 07808 590176.

The KSO Endowment Trust

An 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 first 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 email trust@kso.org.uk or telephone Neil Ritson on 07887 987711.

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TONIGHT’S PERFORMERS

First ViolinAlan TuckwoodZami JalilLouise RingroseBronwen FisherClaire MaughamHeather BinghamClaudia MartindaleSabina WagstylAdrian GordonStefan MatherSusan KnightJo JohnsonLear JanivSarah HackettClaire Dovey

Second ViolinDavid PievskyLiz ErringtonErica JealJuliette BarkerRufus RottenbergJeremy BradshawFrancoise RobinsonVeryan WheelerRoanna ChandlerJill IvesDanielle DawsonMichael ReedJudith Ní BhreasláinFionnbarr ByrneRichard Sheahan

ViolaBeccy Spencer Guy RaybouldCamilla ThorntonSally RandallSonya Brazier Zen EdwardsLucy EllisTom SmithJane Spencer-DavisLiz Lavercombe

CelloJoseph SpoonerRos ElcombeBecca WalkerNatasha BriantAnnie Marr-JohnsonRosie GoddardPeter NagleAnna HamiltonDavid BaxendaleCat MugeAmanda FergusonKim Polman

Double BassPhil ChandlerGisella FerrariChris ShawPaul HornerMark McCarthy

FluteHelen WillsLiz Cutts

PiccoloDan Dixon

OboeCharles BrenanSarah Bruce

Cor AnglaisChris Astles

ClarinetChris HorrilHelen Bennett

Bass ClarinetGraham Elliott

BassoonNick RampleyJohn Wingfield-Hill

ContrabassoonRobin Thompson

Music DirectorRussell Keable

TrusteesDavid BaxendaleZen EdwardsChris HorrilPeter NagleHeather PawsonNick RampleyNeil RitsonRichard SheahanJames Wheeler

Event TeamChris AstlesZen EdwardsPeter NagleBeccy Spencer

Marketing TeamJeremy BradshawPhil ChandlerJo JohnsonDavid MusgroveLouise Ringrose

Membership TeamPhil CambridgeCat MugeNeil Ritson

ProgrammesDavid Musgrove

ORCHESTRA

French HornJon Boswell Heather PawsonJim MoffatRichard Charlton

TrumpetSteve WillcoxJohn HackettLeanne Thompson

CornetJohn HackettMark Lewis

TrombonePhil CambridgeDave Carnac

Bass TromboneDavid Musgrove

TubaNeil Wharmby

Timpani Tommy Pearson

PercussionTim AldenJoe Kearney

PianoPeter Archontides

HarpDaniel de Fry

LUTOSŁAWSKIChantefleurs et Chantefables

MAHLER Symphony No. 4

Soloist: Katherine Watson

Tuesday10 May 20117.30pm

St. John’s,Smith Square,London SW1

Russell KeableConductor

Alan TuckwoodLeader

Tickets: £15, £10 (concessions £10)

St. John’s, Smith Square, London SW1P 3HA. General Manager: Paul Davies.Booking opens 1 April 2011.By telephone 020 7222 1061 Online www.sjss.org.uk By post Please enclose SAE.Debit/credit cards MasterCard, Visa and Maestro acceptedBooking fees per transaction: £2 by telephone / £1.50 onlineAdvance booking The Box Office is open for advance bookings from 10am–5pm weekdays.

The Restaurant (& Bar) in the Crypt is open from 5.30pm. Tel. 020 7222 2779.

St. John’s, Smith Square Charitable Trust, registered charity no. 1045390. Registered in England. Company no. 3028678. Registered charity no. 1069620

Music DirectorRussell Keable

TrusteesDavid BaxendaleZen EdwardsChris HorrilPeter NagleHeather PawsonNick RampleyNeil RitsonRichard SheahanJames Wheeler

Event TeamChris AstlesZen EdwardsPeter NagleBeccy Spencer

Marketing TeamJeremy BradshawPhil ChandlerJo JohnsonDavid MusgroveLouise Ringrose

Membership TeamPhil CambridgeCat MugeNeil Ritson

ProgrammesDavid Musgrove

Tuesday, 19 October 2010THOMAS ADÈS Dances from Powder Her FaceDAVID MATTHEWS Symphony No. 7 (London première)ELGAR Symphony No. 2

Monday, 29 November 2010STRAUSS Perpetuum MobileHK GRUBER CharivariDUKAS The Sorcerer’s ApprenticeTCHAIKOVSKY Act 2 of The Nutcracker

Tuesday, 25 January 2011(At Cadogan Hall, with soloist Nikolai Demidenko)POULENC Les BîchesRACHMANINOV Piano Concerto No. 1BEETHOVEN Symphony No. 8

Saturday, 12 March 2011(With guest conductor Andrew Gourlay)MARTINU° Memorial to LidiceSTRAVINSKY Symphony in Three MovementsVAUGHAN WILLIAMS A Pastoral Symphony

Tuesday, 10 May 2011(With soloist Katherine Watson)LUTOSŁAWSKI Chantefleurs et ChantefablesMAHLER Symphony No. 4

Monday, 27 June 2011SMETANA Overture to The Bartered BrideRICHARD AYRES No. 37b (London première)DVOŘÁK Symphony No. 9 “From The New World”

All concerts at 7.30pm, St. John’s, Smith Square unless otherwise stated

Registered charity No. 1069620