Curtain Raiser Concert Programme

2010 - 2011 Season
The City’s own...
Milton Keynes
City Orchestra
Great Music
live.
With thanks...
Milton Keynes City Orchestra thanks the organisations and individuals
whose support enables it to continue, on stage and in the community…
Arts Council England, South East
Arts Gateway MK
Baker Tilly
Bedfordshire and Luton Community Foundation
City Print
Ebs-It
Eranda Foundation
Franklins Solicitors
Interdirect Limited
Kate Everall Photography
Keen Shay Keens MK
Livingstone White Ltd
Mercedes-Benz of Milton Keynes
Milton Keynes Community Foundation
Milton Keynes Council
Milton Keynes Theatre
Milton Keynes Theatre and Gallery Company
MK Flyers
MK News
MRC Photo
Northamptonshire Community Foundation
Old Possum’s Practical Trust
Orchestras Live
Ramada Encore Hotel
Routeco
Shenley Brook End and Tattenhoe Parish Council
South Northamptonshire District Council
Stony Stratford Town Council
The Citizen MK
The John Lewis Partnership
The Open University
The Rotary Club of Milton Keynes
Wolverton Park
Yamaha Music Europe GmbH (UK)
of Milton Keynes
Sponsorship When was the last time your business was applauded by 1,000 people?
Opportunities are available for your organisation to benefit from sponsoring Milton Keynes City
Orchestra, highlighting your business to a captive audience. Packages include opportunities to
invite and entertain guests at concerts, promotional and publicity opportunities; and the knowledge
that your business sponsorship plays a vital role in keeping Milton Keynes City Orchestra live both
on the concert platform and within the community.
If you would like to find out more about aligning your business with our business, please contact
Anna J Denny in the Milton Keynes City Orchestra Office on 01908 558311 or at
[email protected]
Great Music LIVE.
Sunday 5 September 2010 7.30pm
at Milton Keynes Theatre
Curtain Raiser
Dances of Galanta
Violin Concerto, Op. 77, D major
Kodály
Brahms
Interval
The Unanswered Question, S.50
Symphony no. 38, K.504, D major, ‘Prague’
Principal Conductor
Soloist
Ives
Mozart
Sian Edwards
Anna Liisa Bezrodny
Please note
Milton Keynes City Orchestra reserves the right to make
changes to the advertised programme of performers as
necessary.
The management reserves the right to refuse admission.
Smoking is not permitted in the auditorium, nor is the
use of camera and recording equipment. Glasses may
not be taken into the auditorium. Latecomers will not be
admitted until a suitable break in the performance. The
public may leave at the end of the performance by all
exit doors and such doors must be at all times kept
open. Sitting or standing in gangways is not permitted.
All stairways, exits and passageways must be kept free
of obstruction.
The theatre is fitted with an infra red system for people
with impaired hearing. To use this service please collect
a headset from the kiosk. A £5 deposit is required.
For booking and information call : 01908 558311
1
2
Great Music LIVE.
Welcome
Great
Welcome note from Sian Edwards
The start of a new season is always exciting as it
represents all the work that has been going on for
months behind the scenes assembling the programmes,
soloists and finances that will make the performances come
to life. Now we are finally in a position to actually play the music and to share
our performances with you!
“
Welcome to the 2010-2011 Season of Milton Keynes City Orchestra.
This evening opens with the magical longing that turns into boundless, almost
reckless joy in Kodály's Dances of Galanta. Brahms also adored the music of
Eastern Europe and, although his towering Violin Concerto doesn't have the
dance music he loved, it has a power and passion that comes from the gypsy
roots of violin playing as much as from the classical discipline of the concert
hall. It's a huge pleasure to welcome Anna-Liisa Bezrodny to Milton Keynes for
the first time.
The second half of the concert takes us on an intriguing little mystery tour with
Charles Ives - let the atmosphere take you to a faraway place for a moment before returning firmly to one of classical music's most beautiful, and one of my
absolute favourite Mozart Symphonies - No. 38, the ‘Prague’.
“
Sian Edwards
Principal Conductor
For booking and information call : 01908 558311
3
Dances of Galanta
Zoltan Kodály (1882-1967)
Kodály was the most important Hungarian composer of the 20th century after only Bartok with whom he
collaborated in the collection of Hungarian folk music. He is probably best known for his suite ‘Hary Janos’
but this amusing adaptation of popular and folk styles is not necessarily representative of Kodály’s serious
work.
Kodály’s upbringing was strongly influenced by chamber music. His father was a keen amateur musician
who, in all his spare moments, would play chamber music, especially quartets. Kodály soon joined in with
this, having taught himself to play the cello as no other cellist was available. Studies abroad assisted
Kodály to develop his own style which is much more tonally and traditionally orientated than that of his
colleague Bartok, but not as traditional as his other contemporary Dohnanyi.
The Dances of Galánta were written in 1933 for the 80th anniversary of the Budapest Philharmonic Society
and first performed in October of that year. The work recalls the composer’s happy and carefree childhood
days. Galánta is on the main railway line from Budapest to Bratislava and on to Vienna. Kodály’s father
was station master there for seven years. The work is a dance rhapsody, broadly a rondo in five sections.
Its style is that of the typical Hungarian gypsy dance with melodies and rhythms characteristic of traditional
gypsy music, but with a hint of bagpipes appearing in the fourth section. Most striking in this music is the
brilliant orchestration (combinations of instruments playing together) which is also typical of Kodály.
© IGS 2010
Violin Concerto, Op. 77, D major
Johannes Brahms (1833 – 1897)
Allegro ma non troppo – Adagio – Allegro giocoso
When Brahms, in 1878, wrote to Joachim to ask if he would be interested in a violin concerto the
composer had been planning, we can imagine with what eagerness the great violinist replied. Coming after
Brahms’ great first symphony was composed at the height of his creative career. The noble first
movement, a thoughtful idyllic adagio, and brilliant finale with its fiery gypsy-like music make the concerto
one of it’s creator’s finest works.
In the introduction the composer sets out a simple dignified melody (the principal theme), followed by a
solo oboe; then the original tune in vigorous unison ushers in a gently flowing melody beginning with a
phrase of three descending notes which is followed by a vivacious, strongly rhythmic theme. The solo
instrument makes a striking entry on a minor version of the first theme, while the orchestra softly recalls
fragments of the melodies previously heard. As if decided upon the first, the violin plays it in the upper
register, and a little later adds the second principal theme to these already announced. In the main part of
this movement each melody is recalled in turn. Towards the end of the movement the composer, according
to the custom of the earlier masters, allows the soloist to interpolate a cadenza.
The second movement has an exquisite melody, first heard on the oboe, softly accompanied by the rest of
the wind instruments. It assumes fresh beauty when eventually taken up by the solo violin which plays an
ornamented version. There is an intermediate part where the violin announces a new, more florid, theme
after which the music returns to the first melody, now in a different form. There is a dialogue between
soloist and horn before the movement closes in tranquillity.
The finale is tinged with Hungarian idiom (the character of this movement was doubtless intended partly as
a delicate compliment to Joachim, a native of Hungary). The principal theme is of tremendous rhythmic
energy, played in double stopping (where the soloist plays two notes simultaneously). Violin and orchestra
seem to revel in it for sometime, before a fresh theme is introduced. This theme, played by the soloist,
sweeps up in octaves and against it the accompanying bass descends in an equally vigorous movement.
A third theme eventually appears, a playful little figure also introduced by the solo violin. But it is the
‘gypsy’ theme, which in rondo-like fashion dominates the movement and, in a skillful rhythmic
transformation, provides a brilliant coda as a conclusion.
© IGS 2010
4
Great Music LIVE.
The Unanswered Question, S. 50
Charles Ives (1874 – 1954)
Charles Edward Ives was an American modernist composer. He is widely regarded as one of the first
American composers of international significance. Ives' music was largely ignored during his life, and
many of his works went unperformed for many years. Yet, over time, Ives came to be regarded as an
"American Original". Ives combined the American popular and church-music traditions of his youth with
European art music, and was among the first composers to use musical techniques that foreshadowed
many musical innovations of the 20th century.
Ives, as well as being a composer, was a very successful businessman developing the Ives and Myrick
Agency into one of New York’s most successful and lucrative insurance offices. (Ives is said to have
instituted the first course for training insurance agents and to have invented the concept of estate
planning.) His business assured his financial well-being and freed him to write whatever kind of music he
pleased; and what pleased him were not “pretty, pretty little sounds” but “fine, strong” music that was
like some metaphysical window onto a transcendental landscape. “I found I could not go on using
familiar chords only,” he said. “I heard something else.”
Charles Ives’s sources of tonal imagery are hymn tunes and traditional songs, the town band at a holiday
parade, the fiddlers at Saturday night dances, patriotic songs, sentimental parlour ballads, and the
melodies of Stephen Foster. His output includes four symphonies, two string quartets, sonatas for piano
and violin (including the massively complicated Concord Sonata for piano), descriptive pieces and many
songs.
Though much of Ives’ music is modern and experimental in its harmony, texture and melodic
manipulations, it is solidly rooted in the Romantic notion that music means something — that the notes
are more than simply abstract, fleeting vibrations that momentarily titillate the ear but ultimately leave the
listener untouched. He was convinced that music “comes directly out of the heart of the experience of
life and living life.” Some of Ives’ works are like pasted-up scrapbooks of the musical bits and pieces
that had stuck in his mind since his childhood in Danbury, Connecticut. Ives was a true visionary; “a man
of noble thoughts, a brave and original genius,” American composer and critic Virgil Thomson called
him. “The future of music may not lie entirely with music itself,” Ives wrote, “but rather in the way it
encourages and extends, rather than limits, the aspirations and ideas of the people, in the way it makes
itself a part of the finer things that humanity does and dreams of.”
The Unanswered Question was probably initially Ives’ most well known work and along with Three
Places in New England is Ives’ most popular work. It's also starkly revolutionary, especially considering
its composition date. Ives composed the The Unanswered Question in about 1906. He also made
revisions to the work some time around 1930-35. The revised version (also known as Version 2),
became the most well known version. He used a number of titles for the work including "Largo to
Presto: The Unanswered Question: A Cosmic Landscape", "A Contemplation of a Serious Matter" and
"The Unanswered Perennial Question", but he finally settled on simply The Unanswered Question with
the subtitle ‘A Contemplation of something serious’.
Biographer Jan Swafford comments:
In the 1930's, when he was rummaging for new pieces to put before the public, Ives picked up "The
Unanswered Question," carefully revised it, and attached a program something like what must have
been on his mind in 1906. The strings are "the silences of the Druids, who know, see, and hear nothing";
over this indifferent universal background the trumpet repeatedly poses "the perennial question of
existence"; the winds are the "fighting answerers" who, for all their sound and fury, get nowhere. ... The
program also encompasses a philosophical idea that Ives would address incomparably in his music and
in his writings: in contemplating the sublime mystery of creation, a question can be better than an
answer.
The première performance of The Unanswered Question (Version 2) occurred on 11 May 1946
conducted by a strong supporter of Ives (and himself an American composer of note) Elliott Carter with
a chamber orchestra of graduate students at the Juilliard School. The same concert featured the
premieres of "Central Park in the Dark" and String Quartet No. 2. Version 1 of the work was not
premiered until March 1984, when it was performed in New York City.
© IGS 2010
For booking and information call : 01908 558311
5
Symphony no. 38 in D major K504 ‘Prague’
Wolfgang Amadeus Mozart (1756-1791)
Adagio – Allegro : Andante : Presto
This symphony received its subtitle from the performance in Prague in 1787 where Mozart
had gone to enjoy the success of his opera The Marriage of Figaro. This led to the
commission of Don Giovanni produced at the Prague opera the following October and
there are several moments in the symphony which look remarkably like sketches for this
new opera. One peculiarity of this symphony, besides its contemporaries, is the lack of a
minuet and trio. This may be explained in two ways. The first is that in returning to the
more primitive three movement form Mozart felt he was able to offer more in his maturity,
than he had previously been able, to the form which after all was the forerunner of the
developed symphony. The second is that this is the only symphony of the 41 he wrote in
which all the movements are in strict sonata form and a minuet and trio would have no
place in such a structure. Whichever of these explanations is adopted the work remains a
master-stroke of formal economy.
In the first movement the allusions to Don Giovanni begin from the outset with the opening
figure later used for the same guest’s heavy footsteps. Much else resembles the music
associated with the avenging statue. Then comes the transition to the allegro, again a
fore-runner of Don Giovanni and the opening of the Allegro itself proceeds in the same way
as the overture, even to the extent of being in the same key. Mozart’s genius now shows
through with his powers of invention and development alternating to lead us to the second
subject. This is a magnificent piece of writing scarcely excelled even by Mozart himself.
The development begins with seemingly new and irrelevant material but this is soon
combined polyphonically with not only first and second subject but also the traditional
theme. The first subject then re-appears as if the recapitulation but, being still in the wrong
key gives an amusing false start. The recapitulation proper then begins and with some
fascinating modulations concludes the movement.
The second movement is mainly an outpouring of exquisite melodies the one after the
other. The opening theme is played by the first violins and repeated, with a variation, by
flutes and bassoons. The contrapuntal nature of the movement is remarkable and
dependent on Mozart’s superb interlacing of strands as the strands in themselves are not
very remarkable. The end of the first part contains a magnificent cadence phrase which, if
the repeat is not done, as is modern convention in an already long slow movement, is
missed. Yet if the repeat is made the movement would be too long so the conductor has
the unenviable choice between the lesser of two evils!
The finale is exhilarating and full of wit, as epitomised in the syncopation in the first subject
and Mozart keeps the amusing game going later on when the syncopation is so displaced
between treble and bass that they do their best to put each other off. The syncopation
leads to the second subject which is in three distinct phrases, the first and third for strings
and the second for wind. The development is almost entirely concerned with rhythmic
entanglements which continue through the recapitulation until the end is reached after
many unexpected modulations.
© IGS 2010
6
Great Music LIVE.
Sian Edwards
Principal Conductor
Sian Edwards studied at the Royal Northern College of
Music and with Professor A.I. Musin at the Leningrad
Conservatoire. She has worked with many of the world’s
leading orchestras including Los Angeles Philharmonic,
Cleveland, Orchestre de Paris, Ensemble Orchestral de
Paris, Berlin Symphony, the Frankfurt Radio Symphony
Orchestra, MDR Leipzig, Vienna Symphony Orchestra,
Rotterdam Philharmonic, Finnish Radio Symphony, St. Petersburg Philharmonic, Royal
Flanders Philharmonic, London Sinfonietta, the Hallé, and City of Birmingham Symphony
Orchestra. She has a close relationship with Ensemble Modern in Germany.
She made her operatic debut in 1986 conducting Weill's Mahagonny for Scottish Opera
and her Royal Opera House debut in 1988 with Tippett's The Knot Garden. From 1993 to
1995 she was Music Director of English National Opera for whom her repertoire included
Khovanshchina, Jenufa, Queen of Spades and Blond Eckbert (also recorded on Collins).
For the Glyndebourne Festival she has conducted La Traviata and the Ravel Double Bill,
and for Glyndebourne Touring Opera Katya Kabanova and Tippett's New Year. She
conducted the world première of Mark Anthony Turnage’s Greek at the Munich Biennale in
1988. Recent engagements have included the world premiere of Hans Gefors' Clara for
the Opéra Comique in Paris, Cosi fan tutte in Aspen, her return to English National Opera
for Eugene Onegin, Don Giovanni in Copenhagen, Damnation de Faust in Helsinki, Peter
Grimes and Tchaikovsky Queen of Spades in Frankfurt; Previn A Streetcar Named Desire
and Heggie Dead Man Walking at the Theater an der Wien, Weir A Night at the Chinese
Opera for Scottish Opera, Jenufa for Welsh National Opera, Hansel and Gretel for the
Royal Academy of Music and, most recently, Aquarius by Karel Goegvaerts for Flanders
Opera.
Sian Edwards' recordings include Peter and the Wolf, Britten's Young Person's Guide, and
Tchaikovsky's fifth Symphony, all with the London Philharmonic Orchestra and Judith
Weir's Blond Eckbert with English National Opera.
Future concert engagements include the Ensemble Modern, Bayerische Rundfunk in
Munich, SWR Sinfonieorchester Freiburg, Kuopio Symphony, Turku Philharmonic, and the
Frankfurt Radio Symphony Orchestra. Future operatic engagements include The Rape of
Lucretia for the Theater an der Wien as well as a new ballet, Orlando, for the Staatstheater
Stuttgart.
For booking and information call : 01908 558311
7
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Anna Liisa Bezrodny
Violin
Anna-Liisa Bezrodny was born in Moscow in 1981 into a famous
family of musicians.
At the age of two she began her violin studies with her parents, at nine
she entered the Sibelius Academy in Helsinki, Finland, in the class of
her parents Professor Igor Bezrodny and Professor Mari TampereBezrodny, later studying for MMUS degrees in both Sibelius Academy
and Guildhall School of Music and Drama where she won a most
prestigious award, the Gold Medal in 2006.
Anna-Liisa has succeeded in many competitions, such as in the
J. Kocian International Violin Competition, Czech Republic (1995, 1st prize), a special prize given by the
Rotary Club (1999), the only prize given in the International Music Festival of Frankfurt, Germany (2000),
recipient of the Ian Fleming Charitable Award of the Musicians Benevolent Fund (London,2003), prize
winner of the Martin Musical Scholarship Award, (London,2003), Hattori Foundation and Myra Hess Trust
prizes, (London, 2004), Ricci Foundation Winner 2009, Young Artist of the Making Music Foundation 2009,
J. Heifetz International Violin Competition (2005, 3rd prize), Brahms International Competition (2005, 2nd
prize), Haverhill Soloists Competition in UK. In 2006 Anna-Liisa won the prestigious Guildhall Gold Medal,
playing Shostakovich Violin Concerto No.1 in the Barbican Hall with Sian Edwards, the same competition
has been won by Bryn Terfel, Tasmin Little and Jacqueline du Pre, to name a few. In 2005 Anna-Liisa
Bezrodny was awarded the PROMIS Award for talented young musicians from the London Symphony
Orchestra and in the same year received an honorary prize from the Pro Musica Foundation in Finland.
Anna-Liisa has consistently been invited to participate in numerous festivals, playing in both chamber
ensembles as well as solo, such as Die Russische Musik Festival Dortmund (Germany), Internazionales
Musikfest in Dietzenbach/Frankfurt (Germany), International Music Festival of Waterford (Ireland), Macmillan
Festival, Carter Festival, Malta International Music Festival, Lincoln Festival (UK), Tallinn Chamber Music
Festival, Sibelius Festival (USA), Turku Music Festival, Finland, Open Chamber Music, Prussia Cove, Valdres
Festival in Norway, Bergen Festival, and others. Her chamber music partners have included Sarah Chang,
Chloe Hanslip, Oleg Kogan, David Cohen, Alexander Chaushian, Alexander Sitkovetsky, Maxim Rysanov,
Ivari Ilja, Ronan O’Hora, Louise Hopkins, and many others.
Anna-Liisa has appeared in most prestigious concert venues in Russia, Finland, UK, Estonia and others,
including the Barbican, Wigmore Hall, Cadogan Hall, Finlandia Hall, Esstonia Hall, St. Petersburg
Philharmonic, Moscow Conservatoire Great Hall as well as Small Hall and Rakhmaninov Hall, and
Tchaikovsky Hall.
Anna-Liisa has broadcast on several occasions for Finnish and Estonian National TV’s and National Radio,
NBC and BBC Radio 3. As a soloist she has appeared with orchestras such as the Moscow Symphony
Orchestra TV6 (in the Moscow Conservatory’s Great Hall), Helsinki Philharmonic (in Finlandia Hall), Estonian
National Orchestra, Estonian Chamber Orchestra, Pärnu Philharmonic Orchestra, Jyvaskyla Chamber
Orchestra (Finland), Turku Philharmonic, Vaasa Philharmonic Orchestra, Liepaja Symphony Orchestra
(Latvia), Haydn Chamber Orchestra, Georgian Chamber Orchestra, Vilnius Philharmonic (Lithuania), Jena
Philharmonic, Zurich Chamber Orchestra, South Bank Symphony, London Ensemble (at Wigmore Hall,
world premiere), Guildhall Symphony Orchestra (Barbican Hall) and others. As a soloist Anna-Liisa has also
collaborated with maestros such as Leif Segerstam, Jason Lai, Robin O’Neil, Eri Klas, Arvo Volmer, Paul
Magi, Jyri Alperten, Nikolay Alekseyev, Tibor Boganyi, Sian Edwards, Juha Kangas etc, and she plays
extensively with the renowned pianist Ivari Ilja as well as with Alexander Karpeyev.
Anna-Liisa has been teaching at the Estonian Music Academy since 2008.
Anna-Liisa has recently toured with the Helsinki Philharmonic Orchestra in St. Petersburg’s Philharmonic
Hall and in the Finlandia Hall in Helsinki playing Sibelius Violin Concerto, Mendelssohn Violin Concerto in
Kokkola, Finland.
She gave her debut recital in Berlin Konzerthaus in October 2009, as well as a debut solo appearance with
the Bach Kammerorkester Leipzig in the Cologne Philharmonie Hall.
She will release a debut CD later this year.
For booking and information call : 01908 558311
9
Yamaha, Music Education and our
Milton Keynes City Orchestra Partnerships
Yamaha and Milton Keynes City Orchestra enjoy a long-standing creative partnership that
has seen the two organisations produce some superb recital programmes in the city.
These have included a number of outstanding Yamaha artists including Freddy Kempf,
Sasha Grnyuk, Marina Nadiradze and the exceptional amateur pianist Dominic Piers-Smith,
who is head of aerodynamics at the Mercedes GP Petronas F1 racing team based in
Brackley.
This year we are taking our collaboration with the Orchestra to a new level as we work
together on the pioneering Chamber Roots chamber orchestra concerts at Stantonbury
Campus Theatre. We are very excited about this, as through this programme we aim to
introduce many more people to the beauty and power of classical music.
Founded in 1887, Yamaha is the world's most successful musical instrument maker and
has its UK headquarters here in Tilbrook, Milton Keynes. Although much has changed
since our first grand piano took the piano world by storm in 1904 by achieving an honorary
award at the St. Louis Exposition, piano production and the support of music education
remains at the heart of the company’s global music education ethos.
In the UK alone we operate over eighty Yamaha Music Schools teaching around 8,000
students each week. We are delighted that one of our flagship state school locations is in
Walton High School. We have recently unveiled our new Yamaha More Music programme
which brings some of the world's top artists and industry practitioners together with new
artists. High-level supporters of our scheme include Paolo Nutini, Jamie Cullum and
Mercury Music nominee Kit Downes.
Earlier this year we celebrated twenty years of The Yamaha Music Foundation of Europe
providing performance opportunities, support and financial assistance to talented music
students throughout Europe. Since it's inception in 1989 the scheme has attracted over
1,000 students in the UK alone. It now operates in thirty-one European countries and has
provided over 850 scholarships worth over one million Euros.
Later this year and into 2011 we will be providing some of these scholars with further
performance opportunities with Milton Keynes City Orchestra, bringing their outstanding
talent and inspirational enthusiasm to the forth-coming Stantonbury Campus Theatre
Chamber Series.
Yamaha recognises that if the UK's enviable position as a global leader in music and the
arts is to be maintained and enhanced we must support grass-roots activities. This
development often starts in the classroom and with schemes such as the Stantonbury
series and requires dedicated and talented music educators. Ultimately, the quality of our
musicians depends largely on these inspirational professionals who encourage our young
people to make music. Yamaha holds membership of, and serves on many UK education
bodies including the Federation of Music Services and the Music Education Council. We
are also a co-sponsor of Classic FM's Music Teacher of the year Awards.
10 Great Music LIVE.
10
At the concert platform level we are immensely proud of our support for both new and
established artists through our network of international artists’ facilities. These function as
vibrant hubs providing pianists, teachers, promoters and students with access to the best
quality Yamaha concert instruments, matched by world-class technical service.
Artist centre locations now include New York, Paris, Tokyo, Seoul, Shanghai and Beijing
and in 2008 our London facility joined the network. Located in the heart of Soho, the
London branch now hosts a wide range of activities including our popular Lunchtime
Conservatoire Concert Series in association with the major conservatoires, and a
programme of masterclasses by visiting international artists and educators.
We are delighted that our association with Milton Keynes City Orchestra continues to
prosper and looks set to be significantly enhanced in 2010 and throughout 2011. We need
your passion for music and the arts to help us inspire, support and showcase the very
best of the UK's music and musicians.
Thank you.
Mike Ketley
To find out more about Yamaha and Music Education please visit www.yamahamusiceducation.co.uk
For booking and information call : 01908 558311
11
Milton Keynes City Orchestra
VIOLIN 1
Diana Cummings
Ann Criscuolo
Charlotte Edwards
Elisabeth Wilson
Sue Kinnersley
Marina Solarek
Jeremy Sampson
Gillian Brightwell
Phil Gibson
Katy Barnes
VIOLIN 2
Clara Biss
Jayne Spencer
Emer Calthorpe
Helen Brown
Rachel Bunn
Mackenzie Richards
Alice Butcher
Susan Bowran
VIOLA
Graeme Scott
Stephen Giles
Liz Maskey
Sharada Mack
Michael Schofield
Claudine Guidoin
CELLO
Nigel Blomiley
Richard Birchall
Dinah Beamish
Simon Wagland
Louise McMonagle
Elisheba Stevens
BASS
Cath Ricketts
Pete Smith
Lowri Morgan
Rachel Meerloo
FLUTE/PICCOLO
Mary Parker
HORN
Richard Wainwright
Tim Locke
Jose Lluna
Tony Catterick
OBOE
Graham Salter
Gwenllian Davies
TRUMPET
Tim Hawes
Peter Wright
CLARINET
Nick Cox
Helen Paskins
TIMPANI
Charles Fullbrook
FLUTE
Graham Mayger
BASSOON
John Whitfield
Rachel Edmonds
PERCUSSION
Chris Blundell
Matt Turner
Milton Keynes City Orchestra
President
Vice Presidents
Lady Thompson
Luing Cowley
Peter Donohoe
Sir Peter Thompson
Chairman
Simon Cuthbertson
Principal Conductor
Sian Edwards
Leader
Diana Cummings
General Manager
Anna J Denny
Operations Manager
Nick Cutts
Financial Controller
Donald Edwards
Education and Outreach Officer Jackie Allen
Administrative Assistant
Kate Gardner
12 Great Music LIVE.
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Milton Keynes City Orchestra
3 Theatre Walk
Central Milton Keynes
MK9 3PX
Tel: 01908 558311
Email: [email protected]
Web: www.mkco.org
Registered Charity Number: 271108
VAT Registration Number: 536 467620
Registered in England Number: 1268436
Milton Keynes City Orchestra
Milton Keynes City Orchestra is established as the primary live professional live classical music resource for Milton
Keynes and the surrounding area. The Orchestra was founded some 35 years ago by, and for, local people, and
gave its first performance at Stantonbury Campus Theatre under the baton of its Founder Conductor, Hilary
Davan Wetton, in February 1975. The Orchestra aims to promote a balanced programme of live orchestral music
at high professional standards. This is supported by a programme of education and outreach activity – Music for
Life – which reaches audiences outside the concert hall who might not attend traditional concerts. The Orchestra
is unique in being a professional orchestra which is resident, active, here in Milton Keynes – it plays an important
part in the cultural life of the city, engaging with the education sector and business community, and is a valuable
community and arts resource.
Highlights of the Orchestra’s 2010 – 2011 season at Milton Keynes Theatre include: Yamaha supported pianist
Noriko Ogawa who will perform the Grieg Piano Concerto in May 2011 as part of the Mayor of Milton Keynes’
concert; lush string writing in Barber’s Adagio; a performance by young violinist Simone Porter who is one of the
“World’s Greatest Musical Prodigies”; and pomp, circumstance and festivities. The Orchestra will be presenting
more concerts this season than in recent years as it launches “Chamber Roots”, a new season of three smaller
scale Orchestra concerts, presented at Stantonbury Campus Theatre. Chamber Roots features young soloists
recently awarded scholarships by the Yamaha Music Foundation of Europe and repertoire that will provide a
fascinating contrast with that presented at Milton Keynes Theatre.
Members of the Orchestra regularly work within the community, enabling people of all ages and experiences to
participate and enjoy music making through practical workshops, composition projects, family and schools
concerts, coaching, orchestral training and other creative projects. Recent family music making activities focused
on the theme of Song and Dance” including an education residency with Greenleys First School and Greenleys
Junior School, where young people took part in workshops before visiting Milton Keynes Theatre to perform and
to experience the Orchestra as part of a family music day; an ensemble of musicians from the Orchestra visited
nine local libraries; and the family day at the Theatre included “try it sessions” with instruments, singing
workshops, foyer performances, and young people performing on stage. Recent community working has also
included opportunities for local people to “Sing Together”; early years music sessions and practitioner training;
percussion and dance workshops with young adults from SNAP; master classes with Tasmin Little and Emma
Johnson; featuring in the MK Arts Open Weekend; and “brewing up” with Festive Road.
Whilst the Orchestra is traditionally committed to Milton Keynes and its environs, it continues to work further afield
– performing “Song and Dance” in venues in Luton, Bedford, and Northamptonshire; performing at the Grove
Theatre Dunstable; and as part of the English Music Festival at Dorchester Abbey. The Orchestra has also
undertaken tours to the USA and France. It has released six recordings on the Unicorn-Kanchana and Hyperion
labels. Also under the baton of Hilary Davan Wetton, the Orchestra broadcasted the Classical FM Masterclass
series of introduced works.
13
For booking and information call : 01908 558311
13
Patrons
The Orchestra would like to thank its Patrons, whose support enables us to keep music
live, both on stage and within the community. Thank you.
Margaret Abrahams
Mrs Caroline Adams
Mr P Allen
Peter and Diane Barnes
Mr R Bates
Mrs R Beckett
Michael Benn
Mr & Mrs Bill Blyth
Mrs E Bodill
Alexander Boswell
Malcolm & Jenny Brighton
Janet & Peter Brinsmead
Mr & Mrs P Butler
Mrs L M Cantor MBE
Mr & Mrs B R Carstens
David Chamberlain
Mr B Clark
Mr & Mrs D J Clinch
Mrs P Coombes
Mr & Mrs A H Cooper
Mr L H Cowley
Michael Cuthbertson
Simon Cuthbertson
Chris & Ursula Dancaster
Miss Avril Dankworth
Robin & Rosie Dawson
Mr J W Dolman
Glenda Dryer
Ms P Eccles
Mrs B Edmondson
Dr & Mrs D A Evans
Mr & Mrs J H Fellingham
Ms A Gaisford
Mr & Mrs B Geerlings
Mr J J M Glasse
The Hon & Mrs R Godber
Mrs C Goddard
Mr & Mrs J J Grafftey-Smith
Françoise Guegueniat
Mr & Mrs D Hadfield
Mrs E Halmos
Mr R N & Dr J G Hart
Cheryl Hawkins
14 Great Music LIVE.
14
Drs P and J Haynes
Don and Felicity Head
Frank & Jane Henshaw
Bob & Marion Hill
Mr B Hind
Mr & Mrs M Hodder-Williams
Mr & Mrs B Hogan
Mr P W Humphreys
Christine Humphries
Dr & Mrs B Hundy
Mrs Sarah Jameson
Mr & Mrs D Jenkins
Keith & Heather Jennings
Mr F X Kay
Mr & Mrs P J Kiddle
Mr W J King
Mr & Mrs D Knapman
Mrs C E Konig
Mr L Law
Sir Bruce and Lady Jane
Liddington
Dr A G Limb
Jennie Linden
Mrs M Livingstone
Linda Llewellyn
Haydn & Jan Lloyd
Mr C T Lousada
Mr & Mrs P A Lousada
Mrs Helen Macario
Rev & Mrs R C Macaulay
Mr & Mrs D Macdonald
Margaret Macer
Mr P Mackenzie-Young
Mr & Mrs R Macpherson
Mr & Mrs M Mann
Mr & Mrs P Martin
Ms K L Mason
Mr & Mrs J P Matthews
Christopher Matthews
Mr R Maycock
Mrs L McComie
Miss M McGowan
Mr & Mrs D S Mercer
Mrs Jean Merrill
Mr & Mrs Graham Missen
Mrs E Mitchell
Pat & Beryl Mortimer
Mrs Amanda Nicholson
Mrs M Pawley
Mr & Mrs E A Payton
Mrs Ann Prosser
Mrs M Quick
Mrs P Robeson
Mrs A M Rhodes
Colin & Jacky Scott
Mr K J Siddons
Dr & Mrs Paul Singer
Mr & Mrs A Skennerton
Winifred Skipper
Mrs Andrea Smith
Elaine and Neil Smith
Sue & Ian Smith
Sir John and Lady Southby
Mr I A Stewart
Professor Keith Straughan
Mr & Mrs G G Strutt
Mark & Ann Strutton
Mr & Mrs M Telfer
Mr & Mrs W B Thompson
Peter Thorogood & Associates
Lady Tudor Price
Mr & Mrs N Turnbull
His Honour Judge Christopher
Tyrer
Mr & Mrs T Wagstaff
Mr & Mrs J Walker
Mr & Mrs J A Walton
Mr P W Waterman
Mr G Webster
Dr B K Wharton
The Revd & Mrs J W Whysall
Mr & Mrs W G Williams
Peter & Margaret Wolfendale
Mr G Woodfine
Anonymous
Music for Life
Education and Outreach
Milton Keynes City Orchestra’s ‘Music for Life’ programme takes music-making
experiencesbeyond the concert stage and into the local community – offering high quality,
exciting and innovative musical experiences for all. The Orchestra works closely with
schools, colleges, family centres and local communities, collaborating with people of all
ages and abilities and enabling participation in music projects and wider arts working.
This year the Orchestra has been working in partnership with Milton Keynes and
Bedfordshire Libraries with ‘Song and Dance’ – a small chamber ensemble consisting of
three Orchestra musicians, led by animateur Cathy Kelly. We are grateful to all our
sponsors for their kind support which has enabled this project delivery.
For further details about our Education and Outreach work please contact:
Jackie Allen, Education and Outreach Officer, Milton Keynes City Orchestra,
3 Theatre Walk, Central Milton Keynes, MK9 3PX or telephone 01908 558311.
15
For booking and information call : 01908 558311
15
Forthcoming events
Milton Keynes Theatre Season
The High Sheriff’s Concert
Thursday 20th January 2011 at 7.30pm
Overture: The Naiads
Sterndale Bennett
Violin Concerto, Op. 64, E minor
Mendelssohn
Concerto Grosso
Vaughan Williams
Symphony no. 4, Op. 120, D minor
Schumann
Conductor:
Hilary Davan Wetton
Soloist:
Simone Porter, Violin
This concert will feature young musicians performing
‘Side by Side’ in collaboration with
Milton Keynes Music Service.
‘Palladio’
Sunday 10th April 2011 at 7.30pm
Palladio
Jenkins
Adagio for Strings
Barber
Concerto for Two Violins, BWV1043, D minor Bach
Fantasia on a Theme by Thomas Tallis
Vaughan Williams
Serenade for Strings, Op. 48, C major Tchaikovsky
Principal Conductor:
Sian Edwards
Soloists:
Diana Cummings, Violin
Gabrielle Painter, Violin
The Mayor of Milton Keynes’ Charity
Concert
Sunday 15th May 2011 at 7.30pm
Barber of Seville: Overture
Rossini
Cantus in Memory of Benjamin Britten
Pärt
Piano concerto, Op. 16, A minor
Grieg
Symphony no. 5, Op. 67, C minor
Beethoven
Principal Conductor:
Sian Edwards
Soloist:
Noriko Ogawa
‘Last Night...’
Friday 24th June 2011 at 7.30pm
Festive Overture, Op. 96
Shostakovich
Pomp and Circumstance March no. 1, D major Elgar
Rule, Brittania!
Arne, arr Sargent
Capriccio Italien, Op. 45
Tchaikovsky
Fantasia on British Sea Songs
Wood
Fast colours (World Premiere)
Powers
Juno (UK Premiere)
Turnage
Overture: 1812, Op. 49
Tchaikovsky
Jerusalem
Parry
Rule, Brittania!
Arne, arr Sargeant
Principal Conductor:
Soloist:
Sian Edwards
Cheryl Hawkins, Soprano
Single Ticket Prices: £32, £28, £23, £19, £14, £10
16 Great Music LIVE.
Chamber Roots Season at
Stantonbury Campus Theatre
Saturday 27th November 2010 at 7.30pm
Sinfonietta no. 2, Op. 65
Arnold
Clarinet Concerto, Op. 31
Finzi
Symphony no. 27, K.199, G major
Mozart
Conductor:
Soloist:
Hilary Davan Wetton
Hannah Morgan, Clarinet
Saturday 19th March 2011 at 7.30pm
Divertimenti K.136, D major
Mozart
Bachianas Brasileiras no. 9
Villa-Lobos
Cello Concerto, A major, W.172
C.P.E Bach
Oboe Concerto, no. 2, op. 9, D minor
Albinoni
Three pieces
Piazzolla
Divertimenti K.138, F major
Mozart
Principal Conductor:
Sian Edwards
Soloists:
Yoshika Masuda, Cello
Graham Salter, Principal Oboe
Saturday 28th May 2011 at 7.30pm
The Light Fantastic
Skempton
Piano Concerto no. 15, K.450, B flat major
Mozart
Symphony no. 80, D minor
Haydn
Principal Conductor:
Sian Edwards
Soloist:
Yamaha Music Foundation of
Europe’s 2011 Winner
(to be announced), Piano
All Tickets: £18
Thrilling Three Concert Series: £45
Christmas Concert
Wolverton Church
Sunday 5th December 2010 at 6pm
The Symphonic Brass of Milton Keynes City
Orchestra once again returns to Wolverton Church
with an evening of family festivities.
Principal Conductor:
Sian Edwards
All Tickets: £10 (Concessions £5)
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‘The High Sheriff ’s Concert’
Thursday 20th January 2011
7.30pm at Milton Keynes Theatre
Overture: The Naiads
Sterndale Bennett
Violin Concerto, Op. 64, E minor
Mendelssohn
Concerto Grosso
Vaughan Williams
(includes young people from Milton Keynes Music Service
‘side by side’)
Symphony no. 4, Op. 120, D minor
Schumann
Great Music
Conductor: Hilary Davan Wetton
Soloist: Simone Porter
Box Office 01908 558311
live.
Single ticket prices £32, £28, £23, £19, £14, £10