ADÈS, BARRY, BEETHOVEN: CHAMBER MUSICTHOMAS ADÈS pianoGERALD BARRY piano

LONDON MILTON COURT CONCERT HALLTuesday 30th May 2017, 7.30pm

Programme notes for Adès, Barry, Beethoven: Chamber Music start on page 5.

BEETHOVEN SYMPHONY CYCLE ITHOMAS ADÈS conductorMARK STONE baritone THOMAS GOULD leader

LONDON BARBICAN HALLFriday 2nd June 2017, 7.30pm

POST-CONCERT DISCUSSIONTom Service discusses Beethoven and his influence with Thomas Adès and Gerald Barry.

This performance will be broadcast live on BBC Radio 3.

Programme notes for Beethoven Symphony Cycle I start on page 9.

BEETHOVEN SYMPHONY CYCLE IITHOMAS ADÈS conductorJACQUELINE SHAVE leader

LONDON BARBICAN HALLTuesday 6th June 2017, 7.30pm

Programme notes for Beethoven Symphony Cycle II start on page 15.

ADÈS CONDUCTS BEETHOVEN:SYMPHONY CYCLE

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Here at Britten Sinfonia weconsider ourselves veryfortunate to count thetowering genius that isThomas Adès amongst theorchestra’s close friends andcollaborators. Tom hasdominated the musicallandscape here in the UKand overseas each time he has

produced a new work, not least just last month with hiscelebrated new opera at Covent Garden, TheExterminating Angel.

It seems like quite some time ago that the idea of aBeethoven Symphony Cycle first emerged; we werefresh from a 13-date international tour of Tom’s ViolinConcerto, Concentric Paths, when we sat down to talkabout what to do next together. Initially, a handful ofBeethoven overtures was mooted – great stuff I thought.A couple of emails later however, and Tom was somewhatcoyly admitting that what he really had his heart set onwas the Symphonies: all of them. It took, oh, about 2.5seconds to agree to this, and here we are now, about toembark on the first part of this three-year adventure –having warmed up at the BBC Proms last year with ablistering Symphony No. 8.

Of course, with Britten Sinfonia and Thomas Adès, therehas to be a twist, and this time it’s an Irish one. Perhapsnaively, we assumed that Tom would want to complementthe Beethoven symphonies with some of his own

compositions. But no, Tom had a clear vision of exactlywhat to pair them with: works by his fellow composerGerald Barry, who regards Beethoven as a musical god.Not wishing to (sledge)hammer the point home, the firstconcert features Barry’s work actually entitledBeethoven – a setting of the ‘Immortal Beloved’ letterthat you’ll hear sung by Mark Stone – and in the secondconcert his orchestral masterpiece, Chevaux-de-frise sitsalongside the iconic ‘Eroica’ symphony, closing part oneof our three-year Cycle.

As an appetiser for these symphonic concert in theBarbican Hall, Tom has generously agreed to join ourprincipal players, where he will take his place at the pianoon 30 May in Milton Court to perform Beethoven’slyrical Piano Trio Op. 70, written four years after the‘Eroica’ Symphony. And, a lovely bonus – Gerald Barrywill join in the fun for his own Five Chorales from TheIntelligence Park in an arrangement for two pianos.

This Cycle is one of the most important projects BrittenSinfonia has undertaken, perhaps significantly happeningover the orchestra’s 25th anniversary year. We arethrilled to be bringing you the first instalment and hopeyou will enjoy it as much as I know we will.

David ButcherChief Executive & Artistic Director

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production with the Salzburg Festival, The MetropolitanOpera, New York, and The Royal Danish Opera).

Future engagements include The Exterminating Angel atThe Metropolitan Opera in New York; concerts withCity of Birmingham Symphony Orchestra, Berlin RadioSymphony Orchestra and his debut with the CzechPhilharmonic Orchestra.

His recent piano engagements include solo recitals atCarnegie Hall (Stern Auditorium), New York and theBarbican in London, and concerto appearances with theNew York Philharmonic. In recital, he has appearedthroughout Europe with Ian Bostridge in a tour ofSchubert’s Winterreise. They toured to the UnitedStates this season to Boston, New York, Durham andHanover NH.

His many awards include the Grawemeyer Award forAsyla (1999); Royal Philharmonic Society large-scalecomposition awards for Asyla, The Tempest and Tevot;and Ernst von Siemens Composers’ prize for Arcadiana;British Composer Award for The Four Quarters. His CDrecording of The Tempest from the Royal Opera House(EMI) won the Contemporary category of the 2010Gramophone Awards; and his DVD of the productionfrom the Metropolitan Opera was awarded the Diapasond’Or de l’année (2013), Best Opera recording (2014Grammy Awards) and Music DVD Recording of theYear (2014 ECHO Klassik Awards). In 2015 he wasawarded the prestigious Léonie Sonning Music Prize.He coaches Piano and Chamber Music annually at theInternational Musicians Seminar, Prussia Cove.

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THOMAS ADÈS

Thomas Adès was born in London in 1971. Hiscompositions include three operas, the most recent ofwhich, The Exterminating Angel, premiered at the 2016Salzburg Festival, Powder Her Face (CheltenhamFestival and the Almeida Theatre, London, 1995), andThe Tempest (Royal Opera, Covent Garden, 2004). Hisorchestral works include Asyla (CBSO, 1997), Tevot(Berlin Philharmonic and Carnegie Hall, 2007), Polaris(New World Symphony, Miami 2011), Violin ConcertoConcentric Paths (Berliner Festspiele and the BBCProms, 2005), In Seven Days (Piano concerto withmoving image – LA Philharmonic and RFH London2008), and Totentanz for mezzo-soprano, baritone andorchestra (BBC Proms, 2013). His chamber worksinclude the string quartets Arcadiana (1993) and TheFour Quarters (2011), Piano Quintet (2001), and Lieuxretrouvés for cello and piano (2010). Solo piano worksinclude Darknesse Visible (1992), Traced Overhead(1996), and Three Mazurkas (2010). Choral worksinclude The Fayrfax Carol (King’s College, Cambridge1997), America: a Prophecy (New York Philharmonic,1999) and January Writ (Temple Church, London2000).

Thomas Adès was recently appointed Artistic Partnerby the Boston Symphony Orchestra through 2019; hewill conduct the orchestra in Boston and at Tanglewood,perform chamber music with the orchestra players, andlead the summer Festival of Contemporary Music.From 1999 to 2008 he was Artistic Director of theAldeburgh Festival.

As a conductor, Thomas appears regularly with, amongothers, the Los Angeles and New York Philharmonics,Boston Symphony, London Symphony, the RoyalConcertgebouw, Melbourne and Sydney Symphonies,BBC Symphony, and City of Birmingham SymphonyOrchestra. In opera, he has conducted The Rake’sProgress at the Royal Opera House and Zürich Opera,and made his debut at the Metropolitan Opera New Yorkconducting The Tempest, which he also conducted at theVienna State Opera 2015 with the Vienna Philharmonic.This season he has performed Totentanz with the BostonSymphony, Los Angeles Philharmonic and the RTENational Symphony Orchestras; a European tour of aBeethoven/Barry programme with the Britten Sinfonia;Barry’s new opera Alice’s Adventures Under Ground in LosAngeles (world premiere) and in London (Europeanpremiere); as well as performances of Adès’ opera TheExterminating Angel at the Royal Opera House (a co-

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BeethovenSymphony

Cycle 2018conducted by

Thomas Adès

Thomas Adès and BrittenSinfonia’s journey through

Beethoven’s Symphoniesreaches the half-way

point. Pairing familiarmasterpieces with the

audacious and deftworks of composer

Gerald Barry, theseconcerts will shed new

light on Beethoven’smonuments of the

orchestral repertoire.

Beethoven Symphonies No. 4 & 5Tuesday 22 May 2018, 7.30pmBarbican Hall

GERALD BARRY Piano Concerto (UK premiere)BEETHOVEN Symphony No. 4 Op. 60 in B flat majorBEETHOVEN Symphony No. 5 Op. 67 in C minor

Nicolas Hodges pianoThomas Adès conductorThomas Adès conducts Beethoven’s ever-popular Fifth Symphonyalongside the poignant fourth and the London premiere of GeraldBarry’s Piano Concerto written specifically for, and performed byNicolas Hodges.Tickets £15–£35

Thomas Adès plays BeethovenWednesday 23 May 2018, 7.30pmMilton Court

BEETHOVEN An die ferne GeliebteGERALD BARRY JabberwockyBEETHOVEN Piano and Wind QuintetBEETHOVEN Piano Trio

Allan Clayton tenorThomas Adès pianoPrincipal members of Britten Sinfonia

Thomas Adès puts down his baton and takes a seat at the piano inthis chamber concert which complements the symphony cycleand showcases Beethoven and Barry in a more intimate setting.Tickets £15–£30

Beethoven Symphony No. 6Thursday 24 May 2018, 7.30pmBarbican Hall

GERALD BARRY The Conquest of IrelandBEETHOVEN Symphony No. 6 Op. 68 in F major,

‘Pastoral’

Joshua Bloom bassThomas Adès conductor

Beethoven took inspiration from nature, allowing hisimagination to range vividly across the Austrian countryside inhis thrilling, intricate ‘Pastoral’ symphony. For Thomas Adès,Gerald Barry’s ‘ferociously objective’ music is a natural partnerfor Beethoven. In this concert, Beethoven’s Sixth is juxtaposedwith Barry’s passionate The Conquest of Ireland for orchestraand bass, based on a 12th-century account of Henry II’smilitary conquest of Ireland.Tickets £15–£35

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ADÈS, BARRY, BEETHOVEN: CHAMBER MUSICTHOMAS ADÈS piano GERALD BARRY piano THOMAS GOULD violin CLARE FINNIMORE violaCAROLINE DEARNLEY celloSTEPHEN WILLIAMS double bass JOY FARRALL clarinetSARAH BURNETT bassoonALEX WIDE horn

BEETHOVEN Septet in E Flat Major, Op. 20 40 mins

GERALD BARRY Five Chorales from The Intelligence Park 16 mins

INTERVAL 20 mins

BEETHOVEN Piano Trio in E Flat Op. 70 No. 2 30 mins

Part of Barbican Presents

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I: Adagio - Allegro con brioII: Adagio cantabileIII: Tempo di MenuettoIV: Tema Andante con VariazioniV: Scherzo. Allegro molto e vivaceVI: Andante con moto alla Marcia – Presto

During his time at the court of Elector Maximillian Franzin Bonn, Beethoven composed a wealth of music for theElector’s new Harmonie (wind instrument) ensemble – aflurry which ended abruptly in 1801, when he abandonedwind writing altogether, thereafter (with the exception ofhis two sets of flute and piano variations from 1819 –20)only incorporating wind instruments into his largerorchestral works. Beethoven’s move away from windmusic was partly influenced by the social changes thattook place around this time, with the rise of indoor publicconcerts, the gradual decline of the aristocratic elite andthe huge developments in piano technology increasingthe demand for music for other ensembles. But hisdecision may also have been linked to his own personaldisdain for one of his most celebrated works for winds –the Septet in E flat major, Op. 20.

Scored for clarinet, bassoon, horn, violin, viola, cello anddouble bass, the Septet was premiered in Vienna in April1800 in the middle of an epic concert programme thatalso included his First Symphony, the Piano Concerto No.2 in B flat major, plus arias from Haydn’s Creation and asymphony by Mozart. Beethoven’s intention was clear: toannounce his arrival on the Viennese concert platform asan equal to Haydn and Mozart. With its dissonantopening chords, the First Symphony did not make afavourable impression – the Septet, however, was atriumph, and Beethoven was soon asked to rescore thework for several different instrumental combinations.For Beethoven, however, who was keen to promoteother new and more elaborate works, the Septet’spopularity was an annoying distraction. According to hispupil, the virtuoso pianist Carl Czerny, Beethoven ‘grewangry because of the universal applause with which [theSeptet] was received’ and had even remarked: ‘Thatdamned work… I wish it could be burned.’ Neither did itspopularity diminish during his lifetime: shortly after thepremiere of his Eighth Symphony, Beethoven wasapproached by a potential patron who asked him tocompose ‘something in the more agreeable style of theSeptet’ – a request that was not met with good humour.

The Septet’s success owes much to its melodicinventiveness and sheer joie de vivre, which saturate thework’s six short movements. But this youthful energy isalso combined with an elegant use of melodicism and asubtle approach to harmonic planning, features thatdemonstrate Beethoven’s newly maturing musicallanguage – 1800 was, after all, the same year thatBeethoven completed his first set of string quartets,Op. 18. The layout is similar to Mozart’s Divertimento forstrings, K. 563 in the same key, which was premiered inVienna just two years earlier and was almost certainly amodel for Beethoven’s work.

Comprising six movements – four dances and two slowmovements – the Septet is also a divertimento in all butname, but its expressive content seems to tread theboundaries between the lightness and frivolity of thetraditional divertimento and a more earnest form ofsymphonic expression. The substitution of the traditionalsecond minuet for a scherzo in Beethoven’s model alsosuggests his more modern aspirations, while the intricateset of variations on the Rhenish folk song ‘Ach Schiffer,lieber Schiffer’ that make up the fourth movementdemonstrate his skill for formal manipulation. DespiteBeethoven’s protestations to the contrary, the Septet is amasterful work, one that offers a glimpse of a composeron the brink of future brilliance.

LUDWIG VAN BEETHOVEN (1770-1827)

Septet in E flat major, Op. 20 (1800)

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(Durchgangsnoten), which normally inhabit a kind of twilightworld, you never dwell on them... To build a whole opera onthose oblique musical moments is a turning of somethinginside-out, it is a turning of what is normally transitory intosomething permanent.’

Composed to a libretto by Vincent Deane, the opera’sstory is far from modern. Set in Dublin in 1753, it centreson the (fictional) composer Robert Paradies, whosefiancée runs off with his star castrato while Paradies is inthe midst of composing a new opera. It is a traditionalhead-versus-heart tale, a play within a play (or operawithin an opera), but Barry’s deft juxtaposition ofdifferent soundworlds sends us hurtling back into thefragmented landscape of the twentieth century. WhenParadies composes, we hear his 17th-century music,when Barry is the narrator our perspective shifts back tothe modern day. This constant change of focus findsparallels in the intricate details of Bach’s chorales, thepassing notes that usually fly by, but which Barry makesthe subject of our attention. ‘I have always been interestedin taking something mysterious that is hard to grasp or hardto articulate and confronting it. It is a strange contradiction.I suddenly bring it into the light.’

Barry was also keen to compose a work whose musicwould be both at one with the text and have a lifeindependent of it. Hence, this arrangement for twopianos of five chorales from within the opera whichfunctions as an independent concert work. The themesare unconnected, ranging from cursing one’s father, tomusings on nature, and even a haunted cottage, butthese themes are also irrelevant to the piano piece. Thechorales are an expression of Barry’s belief in music as‘pure material’ (another very Stravinskian idea), thatmusic should ‘have a life as pure material and pure soundand that the colour that plays it is sometimes irrelevant...that it will survive being applied to any instrumentalcombination.’ This is something that brings us back toBach once more, whose music – in its purity andintegrity – seems to withstand any number ofarrangements or transformations. It has, says Barry,‘purity written into the marrow of it, the fibre of it.’

1. Fathers Beget2. Nature Inanimate3. Pallid The Sun4. White Bird Featherless5. Cries From Haunted Cottages

To a libretto by Vincent Deane, The Intelligence Park is atragic comedy of obsession, jail, an eclipse of the sun, andrequited love. It was staged at the 1990 Almeida Festivalin London, The Gate Theatre in Dublin, and at the IrishMuseum of Modern Art. A BBC recording has beenissued on the NMC label (see page 5).

Modern, vivid and uncompromising, Gerald Barry’s musicdoes not immediately make you think of Bach.Stravinsky, perhaps, but not Bach. So it will come as asurprise to many that it was Bach’s music that providedthe inspiration for Barry’s opera The Intelligence Park,composed over the course of seven years from 1981 to1988. ‘I have always loved the whole world of organ musicand the extraordinary tradition’, Barry says, ‘Bach Choralesin themselves are like wonderful sculptural objects. They havea purity, and a hardness and fineness. They are perfectjewels, perfect objects.’ Despite its dissonance andunmistakably 20th-century harmonic palette, TheIntelligence Park was built upon Baroque foundations.‘Much of the harmony is drawn from Bach Chorales,’ headmits, ‘the chords formed by what they call passing notes

GERALD BARRY (b. 1952)

Five Chorales from The Intelligence Park (1984)

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eirI: Poco sostenuto – Allegro ma non troppo

II: AllegrettoIII: Allegretto ma non troppoIV: Finale. Allegro

After announcing his arrival to the musical world in 1795with his two Piano Trios, Op. 1, Beethoven would waitmore than 10 years before he returned to the genreagain. Having composed a wealth of other chambermusic in the meantime, including his string quartetsOpp. 18 and 59, by 1808 Beethoven finally felt ready toreturn to the piano trio once more. His timing wasunusual: this was the same year that saw the great 1808concert, in which Beethoven made his final publicappearance at the piano to premiere his Piano ConcertoNo. 4 – a concert that was, by all accounts, under-rehearsed and poorly received. Alongside the concerto,this four-hour long concert also included his SymphoniesNos. 5 and 6, the Fantasia in C minor for piano, orchestraand chorus, the aria Ah! Perfido, the Fantasia in G minorfor solo piano, and two sections of the Mass in C minor.So to shift so dramatically from these grand orchestralworks and lavish choral masterpieces to the intimacy ofthe piano trio was quite a turnaround.

Writing to his publishers he said his reason for turning hisattention back to the trio was ‘because there is a shortageof such works’. Indeed, since Beethoven had published hisOp. 1 trios, very little of note had been written by anyoneelse for the same ensemble. Unlike the grand works thatcharacterise much of Beethoven’s output during thatfruitful year, the two piano trios that make up Op. 70were never intended for the stage. Written during anautumn sojourn at the house of Countess Marie Erdödyjust outside Vienna, the trios were intended as a gift forhis host and were premiered in the intimacy of her salonin December that year. The Piano Trio, Op. 70, No. 1 inD major, otherwise known by its subtitle the ‘Ghost’, isthe better known of the two, notable for the eerie slowmovement that gives the work its name, with itsshimmering, unstable harmonies, abrupt pauses andsudden outbursts.

By contrast, the Piano Trio, Op. 70, No. 2 in E flat majoris a serene and sunny work, one that seems to luxuriate inthe classical style, rather than itching to push beyond it.In a beautiful, elegant gesture, the opening sees eachinstrument introduced in turn – first cello, then violin,then piano – with a deeply expressive opening themethat flowers effortlessly into the main Allegro. This is a

world away from the jagged and unsettled opening of the‘Ghost’, in fact we might go so far as to say it isbackward-looking, revisiting the slow introductions ofHaydn. The Allegretto variations that follow (replacing thetraditional slow movement) are Haydnesque too in theiruse of two alternating themes, as is the quick-wittedfinale with its glittering theme and capricious interplay.But it is the third movement Scherzo, so often a place ofrestlessness and invention in Beethoven’s works, thatsubverts our expectations most strongly with itssurprising lyricism. Where is the highly-chargedBeethovenian drama? For Donald Tovey, this E flatPiano Trio is Beethoven’s gift to his predecessors, a workin which he paid respect for that which he had inherited,demonstrating the ‘integration of Mozart’s and Haydn’sresources, with results that transcend all possibility ofresemblance to the style of their origins.’

Programme notes © Jo Kirkbride

LUDWIG VAN BEETHOVEN (1770-1827)

Piano Trio in E flat major, Op. 70, No. 2 (1808)

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BEETHOVEN SYMPHONY CYCLE ITHOMAS ADÈS conductor MARK STONE baritone

GERALD BARRY Beethoven 18 mins

BEETHOVEN Symphony No. 1 in C major, Op. 21 25 mins

INTERVAL 20 mins

BEETHOVEN Symphony No. 2 in D, Op. 36 34 mins

POST-CONCERT DISCUSSIONTom Service discusses Beethoven and his influence with Thomas Adès and Gerald Barry.

This performance will be broadcast live on BBC Radio 3.

VIOLIN 1Thomas GouldMarcus Barcham StevensRoisin WaltersBeatrix LovejoyKatherine ShaveMartin Gwilym-JonesLucy JealKate LindonJoanna WronkoMichael Jones

VIOLIN 2 Miranda DaleNicola GoldscheiderAlexandra CaldonSuzanne LozeJudith KellyJo GoddenBridget DaveyJoanna Watts

VIOLAS Clare FinnimoreAlex KoustasBridget CareyRachel ByrtEmma SheppardStephen Upshaw

CELLOSCaroline DearnleyBen ChappellJoy HawleyJulia VohralikJuliet Welchman

DOUBLE BASSESBen RussellLaurence UnglessBenjamin Daniel-Greep

FLUTESSarah O’FlynnDavid Cuthbert

ALTO FLUTESarah O’Flynn

OBOESJenny BrittlebankDominic Kelly

COR ANGLAISJenny Brittlebank

CLARINETSJoy FarrallStephen Williams

BASS CLARINETStephen Williams

BASSOONSSarah BurnettClaire Webster

CONTRABASSOONClaire Webster

HORNSMark BennettJonathan Bareham

TRUMPETSPaul ArchibaldShane Brennan

BASS TROMBONEPaul Lambert

TIMPANIBarnaby Archer

PIANOPhilip Moore

ON STAGE TONIGHT

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MARK STONE

Baritone Mark Stone was born in London and studiedMathematics at King’s College, Cambridge, and singingat the Guildhall School of Music and Drama. In 1998 hewas awarded the Decca Prize at the Kathleen FerrierAwards.

Recent operatic engagements include the title role inDon Giovanni for the Deustche Oper Berlin and NewZealand Opera. Storch (Intermezzo) at GarsingtonOpera, Valmont (Francesconi’s Quartett) at the RoyalOpera House, Covent Garden, Ned Keene (PeterGrimes) with the London Philharmonic Orchestra andVladimir Jurowski and at the Beijing InternationalFestival, Il Conte (Le nozze di Figaro) in Finland andHamburg Opera, Faninal (Der Rosenkavalier) for the Cityof Birmingham Symphony Orchestra with AndrissNelsons, Kurwenal (Tristan und Isolde) for the LondonSymphony Orchestra with Daniel Harding and a tour tothe US as the Ferryman in Netia Jones’ acclaimedproduction of Britten’s Curlew River. His many roles atthe English National Opera have included Don Giovanni,Il Conte (Le nozze di Figaro), Guglielmo, Marcello(La bohème), Figaro (Il barbiere di Siviglia), Enrico (Luciadi Lammermoor), Silvio (I Pagliacci), Chou-en-Lai (Nixonin China) and Prince Yamadori in Anthony Minghella’sproduction of Madama Butterfly.

In the US. he has appeared regularly at the PhiladelphiaOpera where his roles include Ford (Falstaff), GermontPere (La Traviata), the title role in Gianni Schicchi andmost recently Papageno (Die Zauberflöte). He has alsosung Guglielmo (Così fan tutte) in Santa Fe.

Recent performances included the New YorkPhilharmonic and Danish National Symphony Orchestrawith Thomas Adès (Totentanz), Rotterdam Philharmonicand James Gaffigan (A Sea Symphony), theKammerorchester Basel and Paul Goodwin (Messiah),the São Paulo State Symphony (Beethoven Mass), Cityof Birmingham Symphony Orchestra and OrchestreDijon Bourgogne (Brahms Requiem), HelsinkiPhilharmonic, CBSO and the Royal LiverpoolPhilharmonic with John Storgards (Belshazzar’s Feast),and the BBC Scottish Symphony Orchestra withAndrew Manze (A Sea Symphony).

2016/17 includes the title role Wozzeck at Geneva Opera,Los Angeles Philharmonic and Britten Sinfonia withThomas Adès (Barry’s Alice’s Adventures Under Ground),Orquesta Sinfónica de Galicia with Paul Goodwin

(Messiah), Boston Symphony Orchestra with ThomasAdès (Totentanz) and a return to the WNO for hiscritically acclaimed portrayal of Eisenstein.

Other concert highlights include Lorin Maazel and thePhilharmonia (Mahler Symphony 8); Vladimir Jurowskiand the Dresden Staatskapelle (Auerbach Requiem); theAccademia Nazionale di Santa Cecilia with Sir AntonioPappano (Guillaume Tell); the Hallé with Sir Mark Elder(Kindertotenlieder); the Gabrieli Consort with McCreesh(Acis and Galatea); the Bamberger Symphoniker withSir Roger Norrington; Xian Zhang in Milan (Britten WarRequiem); Michael Schoenwandt in Amsterdam (JethsHotel de Pekin); Donald Runnicles and the BBC ScottishSymphony Orchestra (MacMillan Passion), and JamesJudd and the Vienna Symphony Orchestra (Elgar TheDream of Gerontius).

A keen recitalist, he has sung in New York at Carnegie’sWeill Hall; at Wigmore Hall and St John’s Smith Squarein London; at the Oxford Lieder Festival and at theCanterbury and Buxton Festivals.

His recordings include Eugene Onegin (extracts) withPappano (EMI), Les Troyens with the LSO and Sir ColinDavis (LSO Live), Billy Budd with the LSO and Harding(Virgin / EMI); Bellini’s La Straniera with the LPO andParry (Opera Rara) and Mozart arias with the ClassicalOpera Company (Sony BMG). His solo recital discs -Quilter songs (Sony BMG), ‘English Love’, the completeButterworth Songbook and the complete DeliusSongbook (Stone Records) – have all receivedwidespread critical acclaim.

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To give a work a title as bold as Beethoven suggests a formof adulation, an attempt to follow on Beethoven’s legacynearly two centuries after his death, but don’t be fooled.Gerald Barry is not your average composer. Barry grewup in County Clare in Ireland and went on to study withStockhausen and Kagel in Cologne, from whom helearned to explore and revel in his long-held desire forflouting conventions. ‘Barry is always sober, but might aswell always be drunk’, Kagel later said of his pupil. This isnot to be dismissive of Barry’s music – quite the reverse:Barry’s contrariness is precisely what makes it so uniqueand so compelling. Having grown up in rural Ireland, withno immediate access to the concert hall, Barry attributeshis wide-ranging influences to the radio, where the greatclassics were played alongside the banal and Barry wastoo young to recognise the difference. As a result, thereare no borders in Barry’s music, no ‘no go’ areas; hismusic careers between the sublime and the ridiculouswith carefree abandon.

Beethoven was composed for Birmingham ContemporaryMusic Group in 2008 and even its premisedemonstrates Barry’s disregard for the rules. Composedfor bass soloist and orchestral ensemble, Beethoven is asetting, a mini-opera perhaps, of Beethoven’s infamousletter to his ‘Immortal Beloved’, a passionate outpouringof love and regret to an unnamed woman, in whichBeethoven laments the fact that ‘you are not entirelymine, and I am not entirely yours’. In Barry’s setting, thebass soloist narrates Beethoven’s letter, word for word, inan English translation by Anderson. But while the bassvoice could very well be Beethoven’s, Barry makes noattempt to carry this verisimilitude through to the music,which is a far cry from the late classicism of Beethoven’sVienna. Barry’s music is highly contemporary, hard-edged and flies between extremes. It is also stubbornlydefiant (perhaps there are similarities with Beethovenhere after all), so that where we expect softness we aremet with a barrage of noise, where we expect melancholywe hear seemingly ill-placed comedy. For Barry, this is allabout laying bare the conventions and mechanics ofcomposition, and drawing the listener’s attention to thegap between the two.

As the letter opens, Beethoven’s tone is sombre: ‘Myangel, my all, my own self. Only a few words today... what auseless waste of time, why this deep sorrow?’ but Barry’smusic is almost comically jaunty. In the soloist’s voice wehear anger and resentment but the accompaniment

marches forwards regardless, seemingly indifferent to hismelancholy. ‘Can our love persist otherwise than throughsacrifices?’ Beethoven asks, almost matter-of-factly,without any musical signs of the agony of hispredicament. Later, Beethoven changes tack to describehis long and arduous journey to Teplitz (from where hewrites), describing in detail the various logisticsovercome. Here, Barry too alters the mood, though herehe grants far more anguish and chromaticism to thedetails of the horses, the coach breakdown and theirmuddy route than that afforded to Beethoven’s words ofdesperate love and longing. But if Barry’s setting seemsto lack empathy, this detachment also makesBeethoven’s words somehow more real. This is not musicto idolise and romanticise Beethoven, but music tohumanise him, to capture the plain and ugly reality of lifemade all the more truthful through its banality.

GERALD BARRY (b. 1952)

Beethoven (2008)

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Good morning, on July 7.

Though still in bed, my thoughts go out to you, my ImmortalBeloved, now and then joyfully, then sadly, waiting to learnwhether or not fate will hear us – I can live wholly with you ornot at all – Yes, I am resolved to wander so long away from youuntil I can fly to your arms and say that am really at home withyou, and can send my soul enwrapped in you into the land ofspirits – Yes, unhappily it must be so – You will be the morecontained since you know my fidelity to you. No one else canever possess my heart – never – never – Oh God, why mustone be parted from one whom one so loves. And yet my life inVienna is now a wretched life -Your love makes me at once thehappiest and unhappiest of men. At my age I need a steady,quiet life – can that be so in our connection? My angel, I havejust been told that the mail-coach goes every day – therefore Imust close at once so that you may receive the letter at once.Be calm, only by a calm consideration of our existence can weachieve our purpose to live together – be calm, love me today –yesterday – what tearful longings for you – you – you – my life– my all – farewell. Oh continue to love me never misjudge themost faithful heart of your beloved.

Ever thineEver mineEver oursL.

Text: Emily Anderson from The Letters of Beethoven

BEETHOVEN’S LETTER TO HIS IMMORTAL BELOVED

July 6, in the morning

My angel, my all, my very self – Only a few words today and atthat with pencil (with yours). Not till tomorrow will my lodgingsbe definitely determined upon what a useless waste of time –Why this deep sorrow when necessity speaks – can our loveendure except through sacrifices, through not demandingeverything from one another; can you change the fact that youare not wholly mine, I not wholly thine – Oh God, look out intothe beauties of nature and comfort your heart with that whichmust be – Love demands everything and that very justly – thusit is to me with you, and to you with me. But you forget so easilythat I must live for me and for you; if we were wholly united youwould feel the pain of it as little as I. My journey was a fearfulone; I did not reach here until 4 o’clock yesterday morning.Lacking horses the post-coach chose another route, but what anawful one; at the stage before the last I was warned not to travelat night; I was made fearful of a forest, but that only made memore eager and I was wrong. The coach must needs break downon the wretched road, a bottomless mud road. Without suchpostilions as I had with me I should have remained stuck in theroad. Esterhazy, travelling the usual road here, had the samefate with eight horses that I had with four. Yet I got somepleasure out of it, as I always do when I successfully overcomedifficulties – Now a quick change to things internal from thingsexternal. We shall surely see each other soon; moreover, today Icannot share with you the thoughts I have had during these lastfew days touching my own life. If our hearts were always closetogether, I would have none of these. My heart is full of so manythings to say to you – ah there are moments when I feel thatspeech amounts to nothing at all – Cheer up remain my true,my only treasure, my all as I am yours. The gods must send usthe rest, what for us must and shall be.

Your faithful Ludwig

Evening, Monday, July 6

You are suffering, my dearest creature – only now have Ilearned that letters must be posted very early in the morning onMondays–Thursdays, the only days on which the mail-coachgoes from here to Karlsbad. You are suffering Ah, wherever Iam, you are with me – I will arrange it with you and me that Ican live with you. What a life!!!! Thus!!!! Without you pursuedby the goodness of mankind hither and thither which I as littlewant to deserve as I deserve it – Humility of man towards manit pains me – and when I consider myself in relation to theuniverse, what am I and what is He – whom we call the greatest– and yet herein lies the divine in man – I weep when I reflectthat you will probably not receive the first report from me untilSaturday. Much as you love me I love you more – But do notever conceal yourself from me – good night as I am taking thebaths I must go to bed – Oh God – so near! So far! Is not ourlove truly a heavenly structure, and also as firm as the vaultof Heaven?

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Beethovenian around almost every corner. Mostnotoriously, the symphony opens not with a stable tonicchord with which to set the foundations but with adominant seventh – what’s more, it is in the ‘wrong key’of F major. We have to wait until the onset of the Allegroproper before our home key is firmly established.And then there is the wind writing that so troubled theAMZ reviewer, colouring the symphony to striking effectand often used in stark antiphony with the strings. Thefinale has a tentative slow introduction, uncommon in theclassical era and one that sets us off on the wrong footagain – is this to be a slow and sombre final movement?But as this tiny introduction unfurls into the spirited firsttheme, it reveals itself as just one of many Beethovenianjokes in this action-packed finale. The message fromBeethoven in the first of his symphonies is loud and clear:here are my wares, now just wait until you hear what I cando with them.

I: Adagio molto – Allegro con brioII: Andante cantabile con motoIII: Menuetto. Allegro molto e vivaceIV: Finale. Adagio – Allegro molto e vivace

What an extraordinary journey Beethoven’s ninesymphonies outline. Which other composer can claim tohave taken such monumental leaps over a period of just24 years and nine symphonic works? Between his FirstSymphony and his Ninth, Beethoven bids farewell to theclassical era and ushers in the age of romanticism, healters the long-held form and harmonic framework of thesymphony, and in his Ninth he does the unthinkable – heintroduces the voice to an instrumental work. Thesefeatures of Beethoven’s writing are now well-known andaccepted. We have lived with Beethoven’s symphoniesfor so long now that it is easy to be complacent abouttheir radicalism. But listen to the First and Ninthsymphonies side by side and you would struggle tobelieve that they were written by the same composer.Their differences are earth-shattering.

Beethoven began work on his First Symphony in earnestin 1799, and it received its premiere in Vienna in 1800 –there could hardly be a more fitting turn-of-the-centurywork. It was performed alongside his Septet for windinstruments, his Piano Concerto No. 2 and – in asignificant nod to his predecessors – an excerpt fromHaydn’s oratorio, The Creation, and a symphony byMozart. Beethoven’s intentions were clear: he intendedto stake his claim as the rightful successor to theViennese classical tradition. The reception at thesymphony’s premiere was warm but not without criticism.A critic for the influential Allgemeine Musikalische Zeitungwrote the next day of the symphony’s ‘considerable art,novelty and wealth of ideas’, but added that it was flawedby ‘the excessive use of wind instruments, so that there wasmore Harmonie than orchestral music as a whole’. By 1806,perceptions had shifted and a prominent Viennese criticdeclared the work ‘a masterpiece’ one that ‘can justly beplaced next to Mozart’s and Haydn’s.’

In many respects, the symphony sits happily alongsidethe works of Beethoven’s predecessors. Its form, scoring,thematicism – all of these features are essentiallyclassical but... not quite. The scurrying opening theme inthe first movement might have been written by Mozarton a particularly playful day, the just-too-fast Menuettothat is a scherzo in all but name could be the work ofHaydn but... not quite. There is something sly and

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 1 in C major (1800)

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The Second Symphony encapsulates this spirit of defianceand determination – even the traditional courtly Minuet isreplaced with a fervent Scherzo, giving the work aperpetual sense of energetic propulsion. This feeling ofpurpose is announced in the very opening bars, with boldforte chords that set the tone, and lead the way to asunny first theme. Although there are overtones ofmelancholy at times in the Larghetto, these are largelyswept away by an overarching sense of calm andoptimism. The defiant opening chords of the symphonymake a return at the end of this slow movement, burstingthrough to usher away the minor key excursions andclose the movement brightly in the dominant key ofA major.

After the cheerful Scherzo, full of vivid dynamic contrastsand elegant solo woodwind writing, the Finale drives thesymphony towards a dazzling conclusion. Energy is drawnfrom the quirky opening offbeat figure, which underpinsmost of the thematic work of the movement, eventuallyleading to a drawn-out coda of some 150 bars. It was thisprolonged conclusion that prompted one critic at theopening performance to describe the movement as ‘ahideously writhing, wounded dragon that refuses to die’,though many may prefer to interpret it as evidence ofBeethoven’s fiery and determined spirit.

I: Adagio molto – Allegro con brioII: LarghettoIII: Scherzo. AllegroIV: Finale. Adagio – Allegro molto e vivace

Even before he began work on his First Symphony,Beethoven had begun to lose his hearing. His diaryentries reveal problems as early as 1796, and in 1801 heconfessed to his friend Franz Wegeler that he had notattended any social functions for two years, ‘just becauseI find it impossible to say to people: I am deaf.’ Rather thana gradually diminishing ability to perceive sound,Beethoven was plagued by an intense form of tinnitus,in which a loud ringing in his ears obscured all externalsounds. Over time, this malady worsened and began tomanifest itself as deafness, and although the effects wereerratic and varied from day to day, Beethoven was leftwith almost no hearing at all by 1816.

This is the startling backdrop to the Second Symphony –a work so sunny in its demeanour that it is almostimpossible to imagine the affliction Beethoven sufferedduring its composition. It was composed in 1802 whileBeethoven convalesced in the small village ofHeiligenstadt, a rural retreat north of Vienna, now betterknown as the scene of the ‘Heiligenstadt Testament’.Written that same summer, this letter addressed to hisbrothers was Beethoven’s way of outlining the difficultieshe faced in dealing with his encroaching deafness:

‘For six years now I have been hopelessly afflicted, madeworse by senseless physicians, from year to year deceivedwith hopes of improvement, finally compelled to face theprospect of a lasting malady (whose cure will take yearsor, perhaps, be impossible)... My misfortune is doublypainful to me because I am bound to be misunderstood;for me there can be no relaxation with my fellow men,no refined conversations, no mutual exchange of ideas.I must live almost alone, like one who has been banished;I can mix with society only as much as true necessitydemands. If I approach near to people a hot terror seizesupon me, and I fear being exposed to the danger that mycondition might be noticed.’

Ultimately, however, he resolved to embrace whateverthe future might hold for him: ‘Patience, they say, is whatI must now choose for my guide, and I have done so. I hopemy determination will remain firm to endure until it pleasesthe inexorable Parcae to break the thread. Perhaps I shallget better, perhaps not; I am ready.’

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 2 in D major (1802)

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BEETHOVEN SYMPHONY CYCLE II

THOMAS ADÈS conductor

GERALD BARRY Chevaux-de-frise 19 mins

INTERVAL 20 mins

BEETHOVEN Symphony No. 3 in E Flat major, Op. 55 ‘Eroica’ 44 mins

VIOLIN 1Jacqueline ShaveMarcus Barcham StevensMartin Gwilym-JonesKatherine ShaveBeatrix LovejoyClara BissLucy JealGaelle-Anne MichelAnna SmithDavina Clarke

VIOLIN 2 Miranda DaleNicola GoldscheiderAlexandra CaldonJudith KellySuzanne LozeJo GoddenJoanna WattsNatalia Bonner

VIOLAS Clare FinnimoreAsdis ValdimarsdottirRachel ByrtRebecca Low Chris PitsillidesFrancis Kefford

CELLOSCaroline DearnleyBen ChappellJoy HawleyJulia VohralikJuliet Welchman

DOUBLE BASSES Roger LinleyBen RussellElena Hull

FLUTES & PICCOLOSThomas HancoxSarah O’Flynn

OBOESDaniel BatesEmma Feilding

COR ANGLAISEmma Feilding

CLARINETSJoy FarrallStephen Williams

BASSOONSSarah BurnettSimon Couzens

HORNSMartin OwenKira DohertyAlex WideMarcus Bates

TRUMPETSPaul ArchibaldShane Brennan

TROMBONESDouglas ColemanAndy White

BASS TROMBONEPaul Lambert

TUBAEdward Leech

TIMPANI &PERCUSSIONToby Kearney

PIANOPhilip Moore

ON STAGE TONIGHT

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Composed in 1988 for the BBC Proms, Barry’sorchestral masterpiece Chevaux-de-frise was not metwith universal acclaim at its premiere. ‘Rubbish!’ went thecries in the Royal Albert Hall, from an audienceapparently unprepared for this gargantuan wall of sound.Barry’s music is, as composer Kevin Volans points out,‘not for the faint-hearted. Listen to it as loud as you dare,and then some.’ In performance, Chevaux-de-frise is asoverwhelming as the magnitude of the 16th-centurySpanish Armada that inspired it. Written to mark the400th anniversary of the Armada, a large part of whichfoundered and sank of the west coast of Ireland (close toBarry’s home of County Clare), it is a work ofuncompromising brutalism, a dissonant barrage of sound.

Its curious title is taken from the names of the woodenspikes used by cavalry to impale the horses of theopposing army as they charged forwards to fight. There isirony, of course, in that the water-floated Armadacomprised no horses, although the pointed woodenboughs of the ships and the ‘white horses’ of the foamingseas conjure the same visual effect. In literature, thesame term is used to describe difficult passages of text,deliberately incorporated to challenge – and even deter– the more casual reader. Barry’s intentions are thesame: listen loudly, or turn away.

From ff (very loud) to fff (very, very loud), Barry’s defaultdynamic setting is set high and there is little room formanoeuvre within these boundaries. In the first half ofthe piece, there is no dynamic variation, there are nocrescendos or diminuendos, just an unrelenting onslaughtof sound. His character markings, too, are just as sparing– at first ‘Spikily’ and then ‘Brutally’ – the ratchettightening as the volume level rises. Making up this bold,cubist canvas (Paul Griffiths describes it as ‘cubismcubed’) is a wall of crotchets, then quavers, that only givesway (albeit briefly) to more fluid textures at the work’scentre. Each crotchet is a chord and though theirdissonance may suggest otherwise, each is carefullyprescribed. Their pitches are derived in part from thenames of the ships that sank off the coast of Ireland,coupled with notes from the Elizabethan song Like as theSun, whose melody – though present – is all but buriedwithin Barry’s dense new landscape. Ferocious, muscularand powerful, Chevaux-de-frise is a testament to Barry’scraft, ‘a latter-day Rite of Spring’, according to Volans,that is every bit as devastating.

GERALD BARRY (b. 1952)

Chevaux-de-frise (1988)

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I: Allegro con brioII: Marcia funebre. Adagio assaiIII: Scherzo. Allegro vivaceIV: Finale. Allegro molto

In 1802, Beethoven sent his publishers some newmaterial for solo piano along with an accompanying note:in it, he declared that this was music composed in ‘a newmanner’. The parcel contained two new variation sets,one of which was the Variations and Fugue for piano,Op. 35, now better known as the ‘Eroica’ variations –while they predate his symphony of the same name, theyshare both the key and theme of the symphony’s finale.This was the year after his Second Symphony andBeethoven’s thoughts were already turning to his Third.

There is no getting away from it – Beethoven’s ThirdSymphony marks a significant turning point, not just forhis symphonic composition but for his style as a whole,and even for the language and history of western classicalmusic. In its unprecedented length, technical demandsand sweeping aesthetic ideals, it far exceeded anysymphony ever composed before. With his first twosymphonies Beethoven had challenged the public,pushing the boundaries of form and harmony whiledeveloping strands first glimpsed in the works of Haydnand Mozart, but the ambition of the ‘Eroica’ symphony issomething else. The first movement alone is double thelength of any composed by Mozart, and places a newemphasis on the importance of the development section:this is a symphony that aims to leave no thematic stoneunturned, no tonal progressions untapped. Thedevelopment is so long that it includes a complete newtheme, and the wait for the return of the opening subjectis so drawn out that one of the horns quietly pre-empts

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 3 in E flat major, ‘Eroica’ (1803–4)

its re-entry, four bars too early, as though they can waitno longer. Then there is the matter of the elusive C sharpat the end of the first theme, swerving the tonality offcourse before it has even been properly established.

Where did it spring from, then, this ‘new manner’? Whatseparates the Second Symphony from the Third? It is alltoo tempting to look at the date of the symphony’scomposition, just a year after Beethoven penned hisHeiligenstadt Testament and set out his determination toconfront his deafness, resolving to ‘remain firm andendure’. The defiance of the ‘Eroica’, the weightiness ofits themes, the grandeur of its huge symphonic arch, fitso neatly with this renewed sense of purpose that it isdifficult to disentangle the two. But Beethoven gave awaylittle about the music’s relation to his own personal stateof mind. Instead, he dedicated the symphony toNapoleon, whose life and legacy is described over thecourse of its four movements: from the grand ambitionand heroic struggles of the Allegro, through theprojection of his death in the funereal Adagio, to thebuoyant Scherzo and celebratory finale, which togethersound a note of hope for change, the brilliant newaftermath of the revolution. As it was, however,Beethoven withdrew the dedication before publicationupon hearing that Napoleon had declared himselfEmperor, revising his opinion of a man he had idolised toa ‘tyrant’, no more than a ‘common mortal’. It waspublished in 1806 simply as the ‘Symphony Eroica...composed to celebrate the memory of a great man’. And itis, truly, a heroic symphony. From the jolt of the openingchords to the clamour of the finale, with its furiousstrings and vibrant brass fanfares, it is a celebration of thesymphony as much as it is the story of any man’spersonal journey.

The title page of Beethoven’smanuscript showing hiserasure of dedication of thework to Napoleon

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Britten Sinfonia is one of the world’s most celebrated andpioneering ensembles. The orchestra is acclaimed for itsvirtuoso musicianship, an inspired approach to concertprogramming which makes bold, intelligent connectionsacross 400 years of repertoire, and a versatility that issecond to none. Britten Sinfonia breaks the mould by nothaving a principal conductor or director, instead choosingto collaborate with a range of the finest internationalguest artists from across the musical spectrum, resultingin performances of rare insight and energy.

Britten Sinfonia is an Associate Ensemble at theBarbican in London, has residencies across the east ofEngland in Norwich, Cambridge (where it is anEnsemble-in-Residence at the University) and SaffronWalden, where the orchestra became ResidentOrchestra at Saffron Hall in Autumn 2016. Theorchestra also performs a chamber music series atWigmore Hall and appears regularly at major UK festivalsincluding the Aldeburgh Festival and BBC Proms. Theorchestra’s growing international profile includes regulartouring to North and South America and Europe. Theorchestra made its debut in China in May 2016 with athree-concert residency in Shanghai, as well asperformances in Beijing and Wuhan.

Founded in 1992, the orchestra is inspired by the ethosof Benjamin Britten through world-class performances,illuminating and distinctive programmes where old meetsnew, and a deep commitment to bringing outstandingmusic to both the world’s finest concert halls and thelocal community. Britten Sinfonia is a BBC Radio 3broadcast partner and regularly records for HarmoniaMundi and Hyperion.

In 2017–18, Britten Sinfonia collaborates with artistsincluding Thomas Adès, Sir Mark Elder, Jeremy Denk,Cambridge’s King’s College Choir, Elizabeth Kulman,Nicolas Hodges and Ailish Tynan, with premieres fromcomposers including Mark-Anthony Turnage, Emma-Ruth Richards, Leo Chadburn and Nik Barsch.Following UK performances, many of thesecollaborations will tour internationally with performancesin some of the world’s finest concert halls. In 2018 theorchestra will perform for the second time at thePhilharmonie in Paris, and will embark on a summer tourof South America.

Central to Britten Sinfonia’s artistic programmes is awide range of creative learning projects within bothschools and the community including the talented youth

ensemble Britten Sinfonia Academy and annualcomposition competition, OPUS2017, offeringunpublished composers the chance to receive aprofessional commission.

In 2013 Britten Sinfonia was awarded the RoyalPhilharmonic Society Music Award for Ensemble havingpreviously won the Chamber Music Award in 2009 andthe Ensemble Award in 2007. Britten Sinfoniarecordings have been Grammy nominated, received aGramophone Award and an ECHO/Klassik RecordingAward, and most recently were awarded a BBC MusicMagazine Award for its recording of James MacMillan’sOboe Concerto. In 2014 Britten Sinfonia was nominatedfor an Olivier Award for its collaboration with theRichard Alston Dance Company.

Britten Sinfonia play with sinuous beauty andvirtuosic clarity. The Times 2015”“

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BRITTEN SINFONIA

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BRITTEN SINFONIA

FIRST VIOLINS Thomas Gould Leader

Supported by Charles Rawlinson MBE & Jill Rawlinson

Jacqueline Shave LeaderSupported by John & Jilly Wreford

Marcus Barcham Stevens Co-LeaderSupported by Barry & Ann Scrutton

Vacancy*Clara BissRuth EhrlichMartin Gwilym-JonesBeatrix Lovejoy

Supported by Sir Rob & Lady YoungFiona McCapraKatherine Shave

SECOND VIOLINSMiranda Dale

Supported byMr & Mrs Donagh O’Sullivan

Nicola Goldscheider Alexandra Caldon

Supported by Patrick MeehanAnna BradleyMarcus BroomeJudith KellySuzanne Loze

VIOLASClare Finnimore

Supported by Michael & Penelope GaineVacancy*Bridget Carey

Supported by Jen Gilchrist Rachel Byrt

CELLOSCaroline Dearnley

Supported by Jonathan & Clare BarclayBenjamin Chappell

Supported by Sir Rob & Lady YoungJoy HawleyJulia Vohralik

Supported by an anonymous donor

DOUBLE BASSESStephen Williams

Supported by Dr & Mrs Jerome BoothRoger Linley

*Trials in progress

FLUTESEmer McDonough

Supported by Delia BrokeSarah O’Flynn

OBOESNicholas Daniel

Supported by John Stephens OBEEmma Feilding

CLARINETSJoy Farrall

Supported by Andrew & Jane SuttonAndrew Webster

BASSOONSSarah Burnett

Supported by Robert & Margaret MairSimon Couzens

HORNSMartin Owen

Supported by Dame Mary Archer DBETom Rumsby

TRUMPETPaul Archibald

Supported by Jeffrey Archer

TIMPANIWilliam Lockhart

Supported by Stephen & Stephanie Bourne

HARPLucy Wakeford

Supported by Richard & Fiona Walford

PIANOHuw Watkins

Supported by Barbara & Michael Gwinnell

HARPSICHORDMaggie Cole

Supported by Roger Bamber

BRITTEN SINFONIA VOICESDIRECTOREamonn Dougan

MANAGEMENT

David Butcher, Chief Executive &Artistic Director

Supported by Hamish & Sophie ForsythNikola White, Artistic Planning DirectorJames Calver, Concerts DirectorHannah Bates, Orchestral Personnel

ManagerHazel Terry, Concerts AssistantAedin Donnelly, Trainee Orchestra

AssistantSarah Rennix, Creative Learning

DirectorElaine Rust, Finance ManagerNick Brealey, Development DirectorStephen Wilkinson, Development

AssistantClaire Bowdler, Marketing DirectorMilly March, Marketing AssistantSophie Cohen, National Press & PR

Agent

TRUSTEES

Chairman Dr Jerome BoothDame Mary Archer DBEHamish ForsythDr Andy HarterBill Thompson

ADVISORY COUNCIL Jonathan BarclayCharles BarringtonStephen BourneDr Nigel W Brown OBEGermaine GreerMargaret MairCharles Rawlinson MBEProf John RinkStephen Smith OBEJohn Stephens OBEJohn SummersFiona TalkingtonProf Michael ThorneSir John TusaJohn WoolrichJohn Wreford

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TRUSTS & FOUNDATIONSAshley Family FoundationAudrey Martin Trust Barbara Whatmore Charitable TrustBoltini TrustD’Oyly Carte Charitable TrustHeadley TrustMarsh Christian TrustRVW TrustThistle Trust Thriplow Charitable Trust and other anonymous partners

Britten Sinfonia is proud to acknowledgethe support of numerous individuals, trustsand foundations, corporate partners andpublic funders who enable us to playoutstanding concerts to audiences acrossthe UK and the rest of the world.

Everything we do – each and everyconcert, project, collaboration andpartnership – benefits from the vision andgenerosity of all those listed and those whowish to remain anonymous.

For more information about giving to yourorchestra, please contact theDevelopment Team on 01223 558501 oremail support@brittensinfonia.com

PRINCIPAL FUNDER

PUBLIC FUNDERS & PARTNERSCambridgeshire Music PartnershipNorfolk & Norwich Festival BridgeNorfolk Music HubPeterborough Music PartnershipRoyal Opera House BridgeVivacity

SINFONIA CIRCLEAcademyDr Claire Barlow & Prof Jim WoodhouseJohn LebusBarry & Ann ScruttonCommissionsHamish & Sophie ForsythMeredith Lloyd-EvansConcertsDame Mary Archer DBEHamish & Sophie ForsythBarbara & Michael GwinnellCharles Rawlinson MBE & Jill RawlinsonTwo anonymous donorsCorePattie & Julian BarwickDr & Mrs Jerome BoothTwo anonymous donors

ORCHESTRA CHAIR PARTNERSGillian & John BeerSir Richard & Lady DearloveRoger & Susan MayRonald MillanJohn & Penelope RobsonDr Peter StephensonAndrew and Rosemary Tusa

THANK YOU FRIENDSClive & Elizabeth BandyGillian & John BeerSir Alan Bowness CBES BradfieldJanet BrealeyPhilip Britton & Tom SouthernSheila BrownTim Brown Sue & Tim BurtonAnthony & Barbara ButcherPaul Cartledge & Judith PortraitJ CeybirdRobert Clark & Susan CostelloGeoffrey CollensAnn CurranKelly DicksonCaroline Dixey Andrew DuffShirley EllisSally & Michael FowlerSarah GarnierStephen Green & Clare WilsonNorman Greenhill Roy & Barbara HallRob Hammond & Charlotte SankeyDavina HampsonMaureen HankePeter & Cynthia HardyRuth HarmerDonald HearnNick & Penny HeathMike HolleyRichard HopkinSarah Knights & Tony BarnettProf Angela LeightonAnna & Alistair LippSusan MaddockPauline MantrippMichael & Patricia McLaren-TurnerRoger Mears & Joanie SpeersKaarina MeyerRod MillsJohn Parry-WingfieldHoward PhillipsJim PotterColin PurdomSusan PykeJudith RattenburyRuth RattenburyMargaret RoweRoger RoweDr Paul SackinJohn SennittRoderick & Thelma ShawGraham ShorterStephen Smith OBEMary Anne SutherlandColin & Elisabeth TraverseChristoph & Marion Trestler Christine & Peter WallMichael WallisGerald & Janet WatsonColin WillisCarolyn WingfieldOne gift in honour of Miranda Dale’s

musicianship23 anonymous donors