Resident Orchestra of Fairfield Halls, Croydon

Wednesday 20 April 20117.30pm

Fairfield Halls, Croydon

Joseph Swensen conductorThomas Bowes violin

coplAndAppalachian Spring Suite

BArBerViolin Concerto

inTervAl

dvoŘÁkSymphony No. 9 in E minor

From the New World

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Members of the audience are reminded that it is prohibited to smoke in the auditorium or take sound recordings or photographs in any part of the performance. Any noises such as whispering, coughing, rustling of sweet papers and the beeping of digital watches are very distracting to the performers and fellow audience members. Please make sure mobile phones or pagers are switched off during the performance. In accordance with the London Borough of Croydon, members of the audience will not be permitted to stand or sit in any of the gangways. If standing is permitted in the gangways or the sides and the rear of the seating, it will be limited to the numbers exhibited in those positions.LMP and Fairfield Croydon are registered charities.

The LMP is funded by the London Borough of Croydon

Please join us after the concert for mingling in the central foyer. This is a great opportunity to chat with tonightʼs soloists, conductor and members of the orchestra.

Founded by Harry Blech in 1949 as the UK’s first chamber orchestra, the London Mozart Players (LMP) is regarded as one of the UK’s finest ensembles.

Under the leadership of Music Director Gérard Korsten the orchestra is internationally renowned for its outstanding live performances and CD recordings and for its definitive performances of the core Classical repertoire. The LMP also plays an active part in contemporary music, giving many world premières and commissioning new works, especially of British composers. In recent years, the LMP has premièred new works by composers including Sir Peter Maxwell Davies, Tarik O’Regan, Sally Beamish, Cecilia McDowall, Lynne Plowman, Fraser Trainer, Roxanna Panufnik and Tansy Davies. The LMP performance of Tansy Davies� As with Voices and with Tears, performed at Portsmouth Cathedral with Portsmouth Grammar School Chamber Choir, was nominated for a South Bank Sky Arts Award 2011. In March 2011, the LMP announced Roxanna Panufnik as their Associate Composer.

Since 1989, the LMP’s home has been Fairfield Halls, Croydon, thanks to generous funding from the London Borough of Croydon. This residency includes a series of subscription concerts at the halland numerous education and community activities throughout the borough.

Touring is a major part of the orchestra’s schedule, with regular appearances at festivals and concert series throughout the UK and abroad. It is Orchestra in Association of The Anvil, Basingstoke and Turner Sims Concert Hall, Southampton and has strong relationships with other major UK venues. Overseas, the LMP has visited Spain, Belgium and France and Germany.

The 2010/11 season marks the start of conductor Gérard Korsten’s three-year term as the LMP’s fifth Music Director, continuing the strong Classical tradition developed by Andrew Parrott, Matthias Bamert and Jane Glover. This season sees the orchestra continuing to work with established artists including Howard Shelley, Joseph Swensen, Catrin Finch and Chloë Hanslip, whilst building new relationships with bright new stars including

Maximillian Hornung and Francesco Piemontesi. The LMP’s new association with Korsten also sees the introduction of some of the best European soloists to the Fairfield season.

The LMP has developed an extensive and highly regarded education, community and audience development programme, LMP Interactive, and is particularly committed to developing new audiences in outer London boroughs as well as rural areas across the nation. Working with educational institutions also brings inspiring and valued relationships, providing a professional grounding for young musicians, and the LMP is associated with Royal Holloway University of London, Wellington College, Wimbledon College, Portsmouth Grammar School and the Whitgift Foundation Schools in Croydon. Recent projects include ‘Fly Away Mozart’, involving secondary schoolchildren and composer Michael Omer in creating a piece based around flight that was performed in the arrivals hall of Southampton Airport; and ‘Side-by-side in Shepshed’ that saw composer and animateur Fraser Trainer and seven schools in Leicestershire build a new youth orchestra for the area and perform alongside the LMP in a family concert. In Croydon, a START project included children from primary and special needs schools working together to perform at the LMP’s annual Schools’ Concert in Fairfield Halls.

The LMP receives project funding from Arts Council England, Orchestras Live and the Royal Borough of Kingston upon Thames. In addition, the LMP receives grants from trusts, foundations and many individuals, particularly the Friends of the LMP in Croydon.

Recording has played a major part in the orchestra’s life for many years. Its acclaimed Contemporaries of Mozart series with Matthias Bamert for Chandos numbers over 20 CDs to date, with the latest release of Boccherini proving a success with the critics. A recording with Canadian pianist Alain Lefèvre of works by Mendelssohn, Shostakovich and Mathieu for Analekta was awarded a Canadian Juno Award in 2010.

For more information about the orchestraʼs activities, please visit www.lmp.org

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london mozArT plAyerS

1st violins Marieke BlankestijnSusanna Candlin Nicoline Kraamwinkel Martin Smith (Chair supported by Anonymous)

Catherine Van de Geest (Chair supported by Debbie Guthrie)

Robert Yeomans Sophie AppletonRichard Milone

2nd violinsJenny Godson Miriam Teppich(Chair supported by Noël & Caroline Annersley)

Stephen RouseAnna Harpham Vernon Dean(Chair supported by Femke de Vos Burchart)

Raja Halder

violasJudith BusbridgeRebecca JonesJames Widden(Chair supported by Anonymous)

Christopher Pitsillides(Chair supported by Caroline Molloy & Andrew Lay)

Rachel Calaminus

cellosSebastian Comberti Julia Desbruslais Sarah Butcher (Chair supported byElinor Browne)

Ben Chappell(Chair supported by Anonymous)

Martin Thomas

Basses Stacey Watton (Chair supported byLouise Honeyman)

Cathy Elliott Samuel Rice

FlutesJuliette Bausor(Chair supported byBrian & Doreen Hitching)

Jo Marsh

oboes Gareth Hulse(Chair supported byPat Sandry)

Katie Clemmow

clarinetsAngela Malsbury(Chair supported byJoyce & Stuart Aston)

Margaret Archibald

BassoonsSarah Burnett(Chair supported byAlec Botten)

Graham Hobbs

pianoDavid Pettit

HarpHelen Sharp

HornsChristopher NewportTony CatterickRichard LewisMartin Grainger

Trumpets Paul Archibald Peter Wright

TrombonesDanny ScottJeremy GoughIan Fasham

TubaJames Anderson

TimpaniBen Hoffnung

percussionScott BywaterGlyn Matthews

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orcHeSTrA

give THe orcHeSTrA A leg up SupporT An lmp cHAir

From as little as £20 a month, you can sponsor an LMP chair and enjoy a special connection with the orchestra.

• Get to know your player as you see them perform. • Take a look at what goes on behind the scenes with access to rehearsals.• See your name in the programme alongside your chosen chair.

By supporting an LMP chair your donation will be directly helping the orchestra, enabling us to perform fantastic concerts and carry out inspirational work in schools and in the community.

For more information please contact Elinor Browne, Development Manager at the LMP Office, 020 8686 1996 or email elinor@lmp.org.

for Horn and Orchestra (The Fire and the Rose), which received its world première with SCO and its European première with the Netherlands Symphony Orchestra in 2009, and Swensen’s orchestration of the virtually unknown 1854 version of Brahms’ Trio Op. 8; a work he has entitled Sinfonia in B. This “new” work by Brahms has been performed by numerous orchestras in Europe and the US since its première in 2007. Soon to appear on the Signum label is Swensen’s own recording of the Sinfonia in B (with the Malmö Opera Orchestra), a CD which also includes Swensen’s orchestrations of shorter works by Brahms, Schumann and Clara Schumann for violin and orchestra (with Swensen as violinist).

Joseph Swensen is a passionate and dedicated teacher. He teaches regularly at Danish Strings, a summer school located in Vejle, Denmark, and is often invited as a guest professor at music conservatories worldwide. Swensen received an honorary Doctorate Degree from the University of St. Andrews in 2001.

Joseph Swensen was born in 1960 and grew up in Harlem, New York City and is of Norwegian and Japanese descent. He currently maintains residences in Copenhagen, Florida and New York City.

Joseph Swensen currently holds the post of Principal Guest Conductor & Artistic Adviser with the Ensemble Orchestral de Paris. He has also served as Principal Conductor of Malmö Opera since 2007 and is Conductor Emeritus of the Scottish Chamber Orchestra. Joseph Swensen’s work with the Ensemble Orchestral de Paris has included successful visits to the Folles Journées festivals in both Nantes and Japan, appearances at the Lucerne Festival, a CD recording, regular orchestral and chamber music programme at the Theatre des Champs-Elysees in Paris, and a conducting academy that will take place in May 2011.

Joseph Swensen was Principal Conductor of the Scottish Chamber Orchestra (SCO) from 1996 to 2005 and has toured extensively with them throughout the world. Swensen and SCO have also made a series of recordings for Linn records, where Swensen directed the orchestra from the violin in solo concerti, as well as conducting orchestral repertoire. His enthusiasm for new music has resulted in many major works written for both him and SCO and the Ensemble Orchestral de Paris by such composers as James MacMillan, Einojuhani Rautavaara, Sally Beamish, Karin Rehnqvist and Elenor Alberga.

Swensen has a number of regular guest conducting commitments in addition to his work in Paris, Malmö and Scotland. These include the Orchestre National du Capitole de Toulouse, London Mozart Players, Los Angeles Chamber Orchestra, Netherlands Symphony Orchestra, Orquesta de la Ciudad de Granada and Orquestra Sinfónica do Porto Casa da Música.

Before deciding to dedicate himself solely to his conducting career, Swensen enjoyed a highly successful career as a violin soloist and was an exclusive recording artist with BMG. Nowadays his occasional appearances as soloist are a natural extension of his work as a conductor, playing and directing concerti with SCO, the Ensemble Orchestral de Paris and other orchestras with whom he enjoys a particularly close relationship.

Swensen is also active as a composer. His most recent works include the Sinfonia-Concertante

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JoSepH SWenSenConductor

© Eric Richm

ond

London Mozart Players, making a BBC Proms debut with them and Jane Glover in 1991. Still in demand as a guest leader, Bowes has led many of the UK’s finest orchestras and has also concert-mastered many film scores, working closely with many of the most eminent film composers.

But it is as a solo artist, both as recitalist and concerto player, that he has made the greatest impression since 1993. Forming, in 1995, the duo “Double Exposure” with his wife, the composer and pianist Eleanor Alberga, the duo toured regularly and extensively in the USA until 2000. They made a ground-breaking trip to five Chinese cities in 1997 as well as broadcasting and performing in the UK. The repertoire was adventurous and featured commissions and first performances from Alberga herself as well as a host of US and UK composers. A New York recital at the Carnegie Hall in 2000 was extensively and tellingly reviewed by the distinguished writer Paul Griffiths in the New York Times.

In 2003 Bowes became the Artistic Director of the Langvad Chamber Music Jamboree in northern Denmark and, more recently with Eleanor Alberga, founded the chamber music festival Arcadia in north Herefordshire.

He plays a 1659 Nicolo Amati violin.www.lmp.org

THomAS BoWeSViolin

The product of many years of steady growth, the playing of Thomas Bowes is now fast gaining international recognition. Not a child prodigy, or an early developer, Bowes has spent many years developing an unusually deep and expressive musical personality.

In concerto repertoire, Bowes has concentrated on British composers. He has played the Elgar concerto in the USA and Germany as well as in the UK; most recently with the Hallé and Mark Elder. With the Britten concerto he made a dramatic German debut with the Bremen Philharmonic, stepping in at less than 24 hours notice for performances with Sian Edwards in 2003. Bowes also has a deep knowledge of that other glory of the English violin concerto, that by Walton. In 2004, he spent three weeks at the invitation of Lady Walton studying the work at the composer’s home on Ischia. He performed it in Oxford in 2005 in collaboration with the late Vernon Handley.

Bowes has excelled with the sensual – and still little-played – Szymanowski concertos, making a specially recorded broadcast of No.2 for the 1998 BBC Proms season with the Ulster Orchestra and Takou Yuasa. Future plans include the concertos of Bartók and Schoenberg.

Bowes is an enthusiastic champion of contemporary music and made his debut with the BBC National Orchestra of Wales (BBCNOW) in the world première of John Metcalf’s concerto Paradise Haunts… He has recorded the work for Signum Classics with BBCNOW and Grant Llewellyn. In 2001 he premièred the concerto of Eleanor Alberga with the Scottish Chamber Orchestra and Joseph Swensen to a flourish of rave reviews.

Born in Hertfordshire and graduating from the masterclass of Bela Katona at Trinity College of Music in 1982, Bowes joined the London Philharmonic Orchestra in 1985 and, a year later, the Academy of St Martin in the Fields. In 1987 he gave his London recital debut and between 1988 and 1992 was the founding leader of the Maggini String Quartet. In 1989 he was invited to become the leader of the

© Keith Saunders

Appalachian Spring Suite

Appalachian Spring is a key work in Aaron Copland’s output, marking the point at which his desire to write music accessible to the concert-going public at large coincided most completely with his natural bent for formal clarity and cohesion, together with simplicity and directness of expression. The piece was written in 1943/44 as a ballet for the Martha Graham Dance Company, and first performed in October 1944 at a festival in the Library of Congress in Washington, D.C. The pit space there was very limited, so Copland’s original instrumentation was for an ensemble of no more than 13 players: flute, clarinet, bassoon, piano and nine strings, and it is this version which is performed here (with some additional string players, as authorised by the composer).

The title of the ballet was taken – by Graham rather than Copland – from a poem by Hart Crane. The action is based on “a pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century”. In the slow opening section, the characters enter in turn: a Revivalist Preacher, a Pioneer Woman experienced in the ways of the wilderness, a young Husbandman, his Bride and a group of four women Followers of the Preacher. All take part in a general dance, in Copland’s most energetic vein. This is followed by a short episode in which the Followers pray together, a hesitant solo dance by the Husbandman and a “love duet” for the Husbandman and his Bride. The Revivalist then leads an extended dance, with decidedly secular echoes of square-dance rhythms. A broad chordal section accompanies a dance by the Pioneer Woman, who embodies “the rocky confidence of experience”; then at a much faster tempo there is a dance for the young Bride, in which her husband is briefly persuaded to join. The theme earlier associated with prayer returns in an episode in which the Revivalist gives a blessing to the couple.At this point Copland introduces the traditional Shaker melody “The Gift to be Simple” as the theme for a set of variations, danced mostly by the Husbandman and the Bride. Quite suddenly, a long episode interrupts the joyful variations with ominous tones in the clarinet and bassoon. This music

(which is not in the suite) describes the Revivalist giving grave warnings to the new householders of “the strange and terrible aspects of human fate”. Eventually the tragic tones give way to the optimism of the Shaker melody. The section culminates in a broad restatement of the melody, to which the Revivalist leads the dancing. But then the Bride begins to pray, and – as the prayer theme returns once more – is joined by the others. The Pioneer Woman leads the Followers quietly away; the Revivalist tries to break in on the Husbandman and the Bride but is ignored, and also departs; and at the end (in the memorable words of the synopsis) “the couple are left quiet and strong in their new house.”

© Anthony Burton

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AAron coplAnd(1900–1990)

copland

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SAmuel BArBer(1910–1981)

violin concerto

I AllegroII AdagioII Presto in moto pepetuo

“When I write... a concerto, I write what I feel. I’m not a self-conscious composer... It is said that I have no style at all but that doesn’t matter. I just go on doing, as they say, my thing. I believe this takes a certain courage.”

The American 20th Century composer Samuel Barber made this statement about his music in 1971, 30 years after he had written the Violin Concerto; however, the sentiment could apply to any of his musical output.

Often described as a neo-Romantic, his music is essentially lyrical and dramatic. He was born during the lifetime of composers such as Debussy and Elgar; Britten, Stravinsky and Webern were all active during his lifetime and yet Barber remained largely untouched by such influences; he wrote only one 12-note piece (a piano sonata) in his entire career.

The Violin Concerto was completed and first performed in 1939; a commission from the Philadelphia industrialist Samuel Simeon Fels for his ward the violinist Iso Briselli who had graduated from the Curtis Institute of Music the same year as Barber.

Barber accepted the advance and went to Switzerland to begin to work on the piece in the summer of 1939. He hoped to complete the concerto in time for a deadline of 1st October, but his plans were interrupted by the impending war; all Americans were advised to leave Europe. In late August he went to Paris and then went by ship to the USA, arriving in early September. On his arrival in the States he discovered that the piece had already been announced for a première in January of the following year, which put Barber under enormous pressure to finish it.

Barber delivered the first two movements to Briselli in mid-October, which were received enthusiastically

by the violinist. Briselli suggested that the final movement might include more of the virtuosic side of the instrument. In mid-November Briselli showed the work to his tutor, Albert Meiff, who was critical of it, writing to the commissioner, Fels, that he believed it would hurt Briselli’s career if he played it in public. When the final movement arrived, Briselli – already concerned by the criticism of Meiff – told Barber that he felt it did not relate well enough to the previous two movements and that it did not have a sense of belonging.

Barber refused to make any alterations and Briselli then relinquished his claim on the work, explaining that he did not have time to learn it in time for the January première. Despite this, Barber and Briselli agreed to remain friends and not fall out, and the composer expressed his sorrow that he had not provided the violinist with what he had hoped for.

Barber had responded to Briselli’s request for a virtuoso finale by writing a “perpetual motion”; a breathless chase through the music with no real ‘tunes’, but a tumbling series of notes that continues until the very end. There is just the hint of a possibility that Briselli had found this finale impossible to learn, perhaps given the time, and it certainly is the most virtuosic of the three movements. Despite this, Briselli gave the reasoning that at just four minutes long, the finale was too brief to make the whole piece what it deserved to be – a great American concerto.

The piece was eventually performed in 1941 by Albert Spalding with the Philadelphia Orchestra under Eugene Ormandy, and was premièred in Britain at a Proms Concert in 1943. It has remained a popular work ever since and has indeed, despite the criticism of Briselli and Meiff, become a great American concerto.

© Simon Funnell

Thomas Bowes will be signing copies of his recording of the Barber violin

concerto in the foyer, during the interval.

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Have you enjoyed tonightʼs concert? We would appreciate your thoughts on comments@lmp.org or call 020 8686 1996.

AnTonÍn dvoŘÁk(1841–1904)

Symphony no. 9 in e minorFrom the New World

I Adagio – Allegro molto II Largo III Scherzo: Molto vivace – Poco sostenutoIV Allegro con fuoco

Dvořák is regarded as one of the great nationalist Czech composers of the 19th century. He earned worldwide admiration and prestige for Czech music with his nine symphonies, chamber music, oratorios, songs, piano works and operas. He showed an early aptitude for music, mastering the viola, organ and piano by his 16th year, although he was not a child prodigy. From then on he rose, through sheer graft and deserved success, to emerge from Bohemia as one of the most original musicians of his generation. He wrote his nine symphonies over 28 years and, although symphonies 6 and 7 are technically superior, the 9th (From The New World) reigns supreme. Written in America in 1893, it conjures up the pioneering spirit, the landscape and horizons, folk culture and the bustle of an emerging, vibrant nation that suited his spontaneous, uninhibited musical style. Dvořák subsequently repudiated the suggestion that Negro Plantation music had influenced his composition, stating that the rhythms and inflexions of spiritual music were similar to Slav folk music.

The opening movement sets the mood for the symphony. It introduces three main ideas: the first, a lively rag-time theme on the woodwind; the second, a triumphant statement in syncopated rhythm led by the horns; and the third, a melody half reminiscent of the Negro Spiritual Swing Low, Sweet Chariot. The themes interact creating a colourful, contrasting mood. The opening of the Largo is pure film music; a sequence of sustained chords on brass and woodwind laying out the huge landscape of the North American prairies. The cor anglais enters with a sustained, expressive song-like melody of exquisite beauty. The middle section of the movement

breaks the calm with a lift in tempo and a hurried descending three-note theme on flute and oboe. The rather gloomy broad woodwind melody is supported by pizzicato strings until the cor anglais returns with an air of intensified melancholy. The dramatic, syncopated opening of the third movement introduces jagged rhythms, suggestive of ragtime tunes prevalent in America at that time.

The final movement is Dvořák’s most striking – highly original music, bringing together all the major themes of the preceding movements in a blaze of colour, and features a memorable one-note solo for the cymbal!

© Elizabeth Boulton

please join us after the concert for mingling in the central foyer. This is a great opportunity to chat

with tonightʼs soloists, conductor and members of the orchestra.

patronHRH The Earl of Wessex KG GCVO

music directorGérard Korsten

associate conductorHilary Davan Wetton

associate composerRoxanna Panufnik

council of management

acting chairmanRowan Freeland

chair of the audit committeeRosamund Sykes

Daniel BentonSimon FunnellGillian PerkinsDavid WechslerMalcolm Wicks MP

administration

managing directorSimon Funnell

deputy managing directorJo Towler

general managerDavid Wilson

development managerElinor Browne

concerts & projects managerDeborah Guest

marketing & events co-ordinatorCaroline Molloy

orchestral librarianMartin Sargeson

internMimi Kroll

London Mozart PlayersFairfield HallsPark LaneCroydonCR9 1DG

T: 020 8686 1996F: 020 8667 0938E: info@lmp.orgW: www.lmp.org

Registered in EnglandNo. 18720034

Registered CharityNo. 290833

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lmp cdS on SAle AT THe lmp TABleincluding our latest releases:

The latest Contemporaries of Mozart release:

Boccherini symphonies

The award-winning disc with Mendelssohn’s Concerto for

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don'T leT THe muSic STop...

Many people don’t realise that orchestras are charities but, just like other charitable organisations, we rely on donations to keep the music alive, especially as we do not receive regular funding from Arts Council England.

There are lots of ways for you to support the LMP and get involved with the longest-established chamber orchestra in the UK: from making a donation to becoming a Friend, sponsoring a chair in the orchestra or remembering us in your will. Even the smallest amount makes a difference.

If you would like more information about supporting the LMP, please contact Elinor Browne, Development Manager at the LMP Office, 020 8686 1996 or email elinor@lmp.org.

patronHRH The Earl of Wessex KG GCVO

principal fundersLondon Borough of Croydon corporate friendsCantateElite HotelsSimmons & Simmons

public fundersArts Council England and the National LotteryOrchestras LiveRoyal Borough of Kingston Upon ThamesSouth Holland District Council

trusts & foundationsJohn Coates Charitable TrustCity Bridge TrustThe Concertina Charitable TrustThe Croydon Relief in Need CharitiesThe Princeʼs Foundation for Children & the ArtsThe Sackler TrustN. Smith Charitable Settlement

benefactorsAnonymous x 3Daniel & Alison BentonThe Ross Goobey Charitable TrustAndré & Rosalie HoffmannSylvia HoDudley & Margaret MeadMr K G SmithPeter & Sheelagh SmithMr D & Mrs M WechslerJeffrey & Rosamund West

life friendsMichael & Barbara Hill

platinum supportersMr & Mrs C ClementiDavina FreelandDerek & Deirdre LeaDerek & Bunty MillardMichael J RoseMichael Woodhouse CVO

golden supportersAnonymous x 8David BeeverKate BinghamMr & Mrs P A ElliotGeoff & Mary Hearn

Brian & Doreen HitchingMargaret Jones MVOMr & Mrs A J LambellJeanne & Gordon LeesMiss Gillian NobleHazel & Geoffrey OttonMr & Mrs D PowellMrs B D RamsochitChristine RobsonMr & Mrs J TillotsonSir John Wickerson

silver supportersAnonymous x 18Irene & Leslie AaronsMr M P BlackIan GibbChantal KeastNick & Jane MallettMr & Mrs M RiversMrs Marion Sunley

bronze supportersAnonymous x 22George Bray Morag BeierAlec BottenMr I A HamlynMr B E & Mrs P B Woolnough

SupporTing THe lmpThe LMP would like to thank its supporters

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Joining the LMP Friends is an ideal way to become part of a very friendly group of people who share your love of music.

In return, there are wide-ranging benefits and opportunities to meet the musicians.

your benefits:

• Substantial ticket discounts for Croydon concerts and advance booking

• Access to private Friends’ bar before the concert and in the interval with discounted drinks in Fairfield

• Access to LMP rehearsals

• Friends events including coffee meetings with talks on music, outings to non-London LMP concerts and an exclusive annual concert and lunch at

Woldingham School

• Newsletters keeping you involved with all the LMP’s activities

• Discounts on LMP CDs and free programmes for Croydon concerts.

Would you like To SupporT your locAl orcHeSTrA?

WHy noT Join uS AS A Friend?

Membership costs £40 per year, or £60 for couples.

For more information or to join, please visit the LMP desk in the foyer, call the LMP office on 020 8686 1996, email friends@lmp.org or visit www.lmp.org

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ForTHcoming lmp concerTS FAirField HAllS, croydon020 8688 9291

Saturday 14 may 7.30pmFairfield Halls, croydon

HAYDN Symphony No. 103 DrumrollR. STRAUSS Oboe ConcertoELGAR Serenade for StringsMOZART Symphony No. 35, K385 Haffner

Conductor Gérard KorstenOboe François Leleux

Wednesday 22 June 7.30pmBarbican with the london oriana choir

ELGAR The Dream of Gerontius

Conductor David DrummondGerontius Jaewoo KimAngel Rosie AldridgePriest/Angel of the Agony James Platt

Thursday 23 June 7.30pmSt John's Smith Square with the city of london choir

HOWELLS An English MassDURUFLÉ Requiem

Conductor Hilary Davan WettonOrgan Mark Williams

Wednesday 29 June 7.30pmWellington college

MENDELSSOHN OctetMOZART Symphony No. 39 K543SAINT-SAËNS Carnival of the Animals

Conductor Hilary Davan WettonFeaturing students of Wellington College

If you would like to join the LMP mailing list and receive updates via email, please go to www.lmp.org and click on the “subscribe to email list” link. Alternatively, please email info@lmp.org or call 020 8686 1996.