KSO program 28 January 2009

Tuesday 24 January 2012, 7.30pm
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Cadogan Hall, 5 Sloane Terrace, London SW1X 9DQ
Box office: 020 7730 4500, www.cadoganhall.com
(booking fees apply)
Russell Keable conductor
Alan Tuckwood leader
Hindemith
Concert Music for
Strings and Brass
Brahms
Variations on a
Theme of Haydn
Interval
Dvořák
Cello Concerto
Philip Higham cello
Etiquette
Smoking: All areas of Cadogan Hall are non-smoking areas.
Food and beverages:You are kindly requested not to bring
food and other refreshments into Cadogan Hall.
Cameras and electronic devices:Video equipment, cameras
and tape recorders are not permitted. Please ensure all
pagers and mobile phones are switched off before entering the
auditorium.
Interval and timings: Intervals vary with each performance.
Some performances may not have an interval. Latecomers will
not be admitted until a suitable break in the performance.
Consideration: We aim to deliver the highest standards of
service. Therefore, we would ask you to treat our staff with
courtesy and in a manner in which you would expect to be
treated.
Food and Beverages
Culford Room: The house wines, champagne and soft drinks
are available from the bars in the Culford Room at all concerts.
Oakley Bar: Concert goers may enjoy a wide selection
of champagnes, spirits, red and white wines, beers and soft
drinks from the Oakley Room Bar. There are also some light
refreshments available.
Gallery Bar: Customers seated in the Gallery can buy interval
drinks from the Gallery Bar at some concerts.
Access
Cadogan Hall has a range of services to assist disabled
customers including a provision for wheelchair users in the
stalls. Companions of disabled customers are entitled to a free
seat when assisting disabled customers at Cadogan Hall.
Please note that companion seats not sold 48hrs prior to any
given performance will be released for general sale.
Wheelchair users: If you use a wheelchair and wish to
transfer to a seat, we regret we may not be able to provide
a member of staff to help you physically. However, we will
arrange for your wheelchair to be taken away and stored. A
lift is located to the right once inside the box office reception
allowing access to a lowered box office counter. Foyer
areas are on the same level as the box office and the foyer
bar (Caversham Room) is accessed via a wide access lift. A
member of staff will help you with your requirements. Stalls
are accessed via a wide lift as are adapted toilet facilities. Please
note that there is no wheelchair access to the Gallery seats.
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TONIGHT’S PROGRAMME
PAUL HINDEMITH
1895–1963
Concert Music for Brass and Strings (1930)
1. Mässig schnell, mit Kraft—Sehr breit, aber Stets Fliessend
[Moderately fast, with energy—very broad but always
flowing]
2. Lebhaft—Langsam—Im ersten Zeitmass (Lebhaft)
[Lively—slow—the first speed (Lively)]
The dominant artistic trend of 1920s Germany was the Neue
Sachlichkeit (New Objectivity), an umbrella term for a number
of movements that emphasised the democratisation of all
aspects of life and aimed to produce art that was explicitly
functional. Hindemith, prolific composer of music for all
combinations and abilities of musician, fitted in very well
with this aesthetic. Perhaps a little too well, as his posthumous
reputation has been that of a somewhat dry, academic and
even boring composer. This seems rather unfair on someone
who could also write a work entitled “The Flying Dutchman
Overture as played by a bad spa band at 7am by the well”.
His reputation as an author of theory textbooks has obscured
the wit and invention that run throughout his output as a
composer.
One of his quirks was an enthusiasm for model railways.
Visitors to his flat in Berlin would invariably find themselves
put in charge of a train, which was to run strictly to the
timetables devised by Hindemith on 300 metres of track
that ran through three rooms. If the pianist Artur Schnabel,
another enthusiast, happened to be one of the visitors such
sessions could stretch into the early hours. Hindemith’s wife
recalled serving schnapps at 2 or 3 in the morning to palefaced gentlemen.
This combination of the practical and the whimsical connects
to his baroque forbears such as Bach and Handel. The Concert
Music for Brass and Strings makes this connection explicit. It was
commissioned in 1930 by Serge Koussevitsky for the 50th
anniversary of the Boston Symphony Orchestra, and was first
performed by them in 1931. Its spirit is very much that of
a Concerto Grosso such as either of those composers would
have produced. It is a piece that revels in virtuosity, but the
virtuosity of ensemble over individual gymnastics.
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Paul Hindemith
The Concert Music is in two parts, each of which itself is
divided in two. Part One opens grandly with blazing
brass and an angular string theme which is energetically
developed before things subside for a more plaintive,
lyrical second half. Part Two bursts in with a helterskelter of a fugue, perhaps reminiscent of the trains rushing
through Hindemith’s living room. This eventually gives way
to a more reflective mood before the opening returns to
provide a rousing conclusion.
TONIGHT’S PROGRAMME
JOHANNES BRAHMS
1833–1897
Variations on a Theme of Haydn (1873)
Brahms was only 20 when he encountered Robert Schumann,
who was impressed with the young man’s music and put
all his energy into supporting and publicising his work.
Brahms was, he wrote, “destined to give ideal expression
to the times”. Such effusive praise from such a prominent
musician raised expectations that Brahms found intimidating.
He was expected to take up the mantle of Beethoven as the
German-speaking world’s next great composer. One result of
this was that it would take him over 20 years to complete his
First Symphony, so terrified was he of Beethoven’s shadow.
Composing the Variations on a theme by Haydn was a major step
towards building the confidence to complete the symphony. It
started life as a work for two pianos, but Brahms orchestrated
it very soon after completing it. The orchestral version
received its première in 1873, the same year as the twopiano version was published, and was itself published the
following year. This version was an immediate success, and
paved the way for the long-delayed completion and première
of his First Symphony in 1876. It is often cited as the first
ever free-standing set of variations for orchestra. This is not
actually true (Mozart’s much-maligned contemporary Salieri
had composed such a work as early as 1815), but any such
precedents are obscure enough that Brahms can certainly take
the credit as the inspiration for all the composers who have
produced similar works subsequently.
Whether the theme itself is actually by Haydn is disputed.
It comes from a divertimento that was shown to Brahms in
1870. The theme comes from the second movement (itself
a set of variations) and is headed “Corale St Antoni”. Since
the 1950s many have cast doubt on the work’s authorship,
suggesting Haydn’s pupil Ignaz Pleyel as a more likely author.
Whoever the composer was, the theme may still have been
taken from an older source. Renaming Brahms’s work seems
pointless however: whatever its true provenance, the theme
was taken by Brahms as Haydn’s and treated accordingly.
Brahms was a composer intensely aware of his place in history;
these variations, as well as preparing the way technically for
his First Symphony, are also a psychological preparation. In
them Brahms pays homage to the father of the symphony
Johannes Brahms
before squaring up to Haydn’s spiritual heir, Beethoven.
The theme itself is structured unusually in five-bar phrases, a
quirk that undoubtedly appealed to Brahms and encouraged
him to use it as the basis for his variations. Eight variations
follow which showcase every manner of orchestral colour
and technique, before a finale built on a repeating bass figure
derived from the theme that pays as much homage to Bach
as to Haydn. In the closing bars, some indisputably genuine
Haydn can be heard, in the form of a brief quotation in the
violas and cellos from his “Clock” Symphony.
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TONIGHT’S PROGRAMME
ANTONÍN DVOŘÁK
1841–1904
Cello Concerto in B minor (189)
1.
2.
3.
4.
Allegro vivace e con brio
Allegretto scherzando
Tempo di Minuetto
Allegro vivace
Dvořák attempted to write a cello concerto as early as 1856
while still a student. He was unhappy with the result and
abandoned it; he put away the piano score he had completed
and the work was not heard of again until it turned up in
his estate papers in 1925. Over the next three decades his
college friend and cellist Hanuš Wihan tried repeatedly to
persuade him to compose a concerto, but Dvořák refused. He
had formed the opinion that the cello, while undoubtedly an
expressive instrument, was fundamentally unsuited to take on
the role of concerto soloist. He did eventually write a number
of recital pieces for Wihan in 1891, and when the cellist asked
him to arrange them for cello and orchestra in 1893, Dvořák
obliged. His satisfaction with these arrangements began to
soften Dvořák to the idea of a concerto. A few months later in
March 1894 he was present at the première in Brooklyn of the
Second Cello Concerto by Victor Herbert, his colleague at the
National Conservatory of Music in New York. Herbert is now
largely forgotten except perhaps for some of his operettas
which prefigured the song-writing industry of Tin Pan Alley,
but in his day he was one of the most popular musicians
in America. As well as composing he was an accomplished
cellist and conductor, and was the soloist in his own concerto.
Dvořák was impressed by the concerto, to the extent that
after hearing it he began to give serious thought to Wihan’s
perennial request. By November he had begun work, and
completed the score in February 1895. The concerto was to
be the last product of his time in America, and in fact the
only work he completed in his final year there. Dvořák had
been in New York for three years by this stage. Although his
appointment had been a great success the Dvořáks were by
now desperately homesick, not least because their children
had returned to Prague to the care of their grandmother. This
is reflected in the concerto, which is as thoroughly Czech
as anything he ever wrote, with not a trace of an American
6
Antonín Dvořák
influence. His letters home in the last two months of 1894
are almost exclusively concerned with two matters: the
concerto, and his desire to return home.
Dvořák’s misgivings about the ability of a cello to carry as
a soloist did not prevent him from scoring the concerto for
the largest orchestra he had yet used for such a work. These
forces are deployed with great subtlety, however, and Dvořák’s
approach to his solo instrument is largely to eschew overt
virtuosity (which is not to say that the solo part is not very
hard indeed) and treat it rather as first amongst equals in
what is effectively a three-movement symphony with cello
obbligato. In the opening movement there is an extensive
exposition for the orchestra before the soloist enters with a
TONIGHT’S PROGRAMME
swagger. While the cello is put thoroughly through its paces
thereafter, Dvořák is always careful that it should be woven
into the fabric of the music and never simply an empty
display of technical fireworks.
give the premières in Prague, Leipzig and Berlin at Dvořák’s
request, before taking it to New York in 1897. His association
with the concerto proved to be the highlight of a short career.
He died aged only 42 in 1904, the same year as Dvořák.
As he began work on the slow movement in December 1894,
Dvořák received a letter from Josefina Čermáková. Dvořák had
known Josefina since his youth; she had been a pupil of his
and he had been in love with her. He had proposed marriage
but she rejected him. However, they remained friends and
she later became his sister-in-law. In the letter she told him
that she was seriously ill and warned that she was unlikely to
live long. The effect of this news can be heard viscerally in the
movement, which after a gentle, nostalgic opening erupts in
an anguished outburst. A second theme emerges in a minor
key: this derives from his song “Lasst mich allein” (Leave Me
Alone), which was a favourite of Josefina’s.
Dvořák’s friend and mentor Brahms had the opportunity to
study the score of the concerto at length when he helped with
proof-reading and the preparation of a piano arrangement.
Brahms had written for the cello himself some eight years
earlier in his Double Concerto for violin and cello, but
recognised his friend’s achievement in typically gruff
manner: “Why on earth didn’t I know that one could write
a cello concerto like this? If I had only known, I would have
written one long ago!”
An ominous march announces the finale before the cello takes
up a resolute theme which recurs throughout the movement.
This alternates with more lyrical ideas which become
progressively more ecstatic, climaxing in an impassioned duet
between the cello and a solo violin. Dvořák’s original score
concludes with a brief coda that brings peaceful murmurs
before a final crescendo. This, however, would not be the
composer’s final thoughts.
In the spring of 1895, Dvořák returned to Prague. In May he
received devastating news: Josefina had died. He immediately
rewrote the end of the concerto, expanding what had been
a fairly perfunctory ending into an extended elegy, which
brings back the first movement’s main theme, and also makes
veiled reference to Josefina’s song.
The concerto was first performed in London in March 1896,
with Dvořák conducting the London Philharmonic Society.
Although Wihan was the dedicatee of the concerto and
Dvořák had been keen that no-one but him should give the
first performance, he was unavailable and so the soloist was
a young English cellist, Leo Stern. Keen to appease Dvořák,
Stern travelled to Prague to study the part with the composer
himself. He evidently impressed Dvořák, as he went on to
© 2012 Peter Nagle
BIOGRAPHIES
RUSSELL KEABLE
CONDUCTOR
Russell Keable has established a reputation as one of the
UK’s most exciting musicians. As a conductor he has been
praised in the national and international press: “Keable and
his orchestra did magnificently,” wrote the Guardian; “one of
the most memorable evenings at the South Bank for many a
month,” said the Musical Times.
He performs with orchestras and choirs throughout the
British Isles, has conducted in Prague and Paris (concerts
filmed by French and British television) and recently made his
debut with the Royal Oman Symphony Orchestra in Dubai.
As a champion of the music of Erich Korngold he has received
particular praise: the British première of Korngold’s Die tote
Stadt was hailed as a triumph, and research in Los Angeles led
to a world première of music from Korngold’s film score for
The Sea Hawk.
Keable was trained at Nottingham and London Universities; he
studied conducting at London’s Royal College of Music with
Norman Del Mar, and later with George Hurst. For 27 years he
has been associated with Kensington Symphony Orchestra, one
of the UK’s finest non-professional orchestras, with whom he
has led first performances of works by many British composers
(including Peter Maxwell Davies, John Woolrich, Robin
Holloway, David Matthews, Joby Talbot and John McCabe).
He has also made recordings of two symphonies by Robert
Simpson, and a Beethoven CD was released in New York.
Russell Keable is recognized as a dynamic lecturer and
workshop leader. He has the rare skill of being able to
communicate vividly with audiences of any age (from school
children to music students, adult groups and international
business conferences). Over five years he developed a special
relationship with the Schidlof Quartet, with whom he
established an exciting and innovative education programme.
He holds the post of Director of Conducting at the University
of Surrey.
Keable is also in demand as a composer and arranger. He
has written works for many British ensembles, and his opera
Burning Waters, commissioned by the Buxton Festival as part of
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their millennium celebration, was premièred in July 2000.
He has also composed music for the mime artist Didier
Danthois to use working in prisons and special needs schools.
BIOGRAPHIES
PHILIP HIGHAM
CELLO
Philip Higham is rapidly emerging as one of the most
prominent young cellists from the UK. In 2010 he won 2nd
prize in the Grand Prix Emanuel Feuermann Competition in
Berlin, making him the first British cellist in generations to
have won top prizes at three major international competitions,
including 1st Prize in the 2008 Bach Leipzig and 2009
Lutosławski Competitions. He was selected for representation
by Young Classical Artists Trust (YCAT) in 2009.
At the opening of the 2011–12 season Philip made his
debut with the Academy of St Martin in the Fields and
Vienna Chamber Orchestra, and appeared at the Festspiele
Mecklenburg Vorpommern and Muensterland Festivals in
Germany and Grachten Festival in Amsterdam. He returns
to Wigmore Hall twice and Bridgewater Hall (29 February)
as well as tonight’s performance of the Dvořák Concerto
at Cadogan Hall, and appears with the Edinburgh Youth
Orchestra (7 & 8 April) conducted by Garry Walker and at
Colston Hall with the Bristol Ensemble (14 March). In July
he appears at the Cheltenham Festival broadcast by BBC Radio
3 and takes part in the IMS Prussia Cove 40th anniversary
celebrations at Wigmore Hall.
Over the last year Philip has performed the complete Bach
Cello Suites at the Lammermuir Festival and Perth Concert
Hall to critical acclaim, taken part in the IMS Prussia Cove
Ensemble tour and given a series of performances of concertos
by Haydn and Schumann with Sinfonia Cymru. His debut
recording for Sonimage featuring works by Debussy, Fauré,
Britten and Bridge is due for release later this year. Future
plans include performances of the complete Britten Cello
Suites in 2013.
Autunno Musicale Festival in Naples, the Kammerakademie
Potsdam and Mendelssohn Kammerorchester in Leipzig, and
performed Finzi’s Concerto to critical acclaim at St John’s,
Smith Square (London).
Born in Edinburgh in 1985, Philip studied at St Mary’s Music
School in Edinburgh with Ruth Beauchamp and the Royal
Northern College of Music with Emma Ferrand and Ralph
Kirshbaum. He graduated in 2007 with first class honours
and was immediately selected as an International Artist
Diploma student. In 2010 he was one of the first artists
invited to take part in the Royal Philharmonic Society/YCAT
Philip Langridge Mentoring Scheme with Steven Isserlis.
Philip Higham currently plays a fine Tecchler cello (c. 1730).
Since 2009 Philip has given recitals at major festivals
and venues throughout Europe including Lake Maggiore
(Italy), the Bachwoche in Ansbach, Leipzig BachFest, the
Gioventu Musicale d’Italia, Victoria Arts Festival in Malta,
Manchester International Cello Festival, City Halls Glasgow,
and the Spitalfields, Brighton and Lake District Summer
Music Festivals. He has appeared as soloist with the Warsaw
Philharmonic Orchestra, Orchestra Camera Di Caserta in the
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BIOGRAPHIES
KENSINGTON SYMPHONY ORCHESTRA
In its 56th year Kensington Symphony Orchestra enjoys an
enviable reputation as one of the finest amateur orchestras
in the UK. Its founding premise—to provide students and
amateurs with an opportunity to perform concerts at the
highest possible level—continues to be at the heart of its
mission. It regularly attracts the best non-professional players
from around London.
around the subject of speed dating, Spirit Symphony, at the Royal
Festival Hall, both of which were broadcast on BBC Radio
3. In December 2005, Spirit Symphony was awarded the Radio
3 Listeners’ Award at the British Composer Awards. Russell
Keable has also written music for the orchestra, particularly
for its education projects, which have seen members of the
orchestra working with schools from the inner London area.
It seems extraordinary that KSO has had only two principal
conductors—the founder, Leslie Head, and the current
incumbent, Russell Keable. The dedication, enthusiasm and
passion of these two musicians has indelibly shaped KSO’s
image, giving it a distinctive repertoire which undoubtedly
sets it apart from other groups. Its continued commitment
to the performance of the most challenging works in the
canon is allied to a hunger for new music, lost masterpieces,
overlooked film scores and those quirky corners of the
repertoire that few others dare touch.
In 2006 KSO marked its 50th anniversary. The celebrations
started with a ball at the Radisson Hotel, Portman Square in
honour of the occasion, attended by many of those involved
with the orchestra over the previous 50 years. The public
celebration took the form of a concert at London’s Barbican
in October. A packed house saw the orchestra perform
an extended suite from Korngold’s score The Sea Hawk,
Rachmaninov’s Piano Concerto No. 2, with established KSO
collaborator Nikolai Demidenko, and Prokofiev’s cantata
Alexander Nevsky, with the London Oriana Choir.
Revivals and premières, in particular, have peppered the
programming from the very beginning. In the early days
there were world premières of works by Arnold Bax and
Havergal Brian, and British premières of works by Nielsen,
Schoenberg, Sibelius and Bruckner (the original version of
the Ninth Symphony). When Russell Keable arrived in 1983,
he promised to maintain the distinctive flavour of KSO. As
well as the major works of Mahler, Strauss, Stravinsky and
Shostakovich, Keable has aired a number of unusual works
as well as delivering some significant musical landmarks—
the London première of Dvořák’s opera Dimitrij and the
British première of Korngold’s operatic masterpiece, Die tote
Stadt (which the Evening Standard praised as “a feast of brilliant
playing”). In January 2004, KSO, along with the London
Oriana Choir, performed a revival of Walford Davies’s oratorio
Everyman, which is now available on the Dutton label.
KSO has an honourable pedigree in raising funds for charitable
concerns. Its very first concert was given in aid of the Hungarian
Relief Fund, and since then the orchestra has supported the
Jacqueline du Pré Memorial Fund, the Royal Brompton Hospital
Paediatric Unit,Trinity Hospice, Field Lane, Shape London and
the IPOP music school. In recent years, it has developed links
with the Kampala Symphony Orchestra and Music School
under its KSO2 programme, providing training, fundraising
and instruments in partnership with charity Musequality.
New music has continued to be the life-blood of KSO. An
impressive roster of contemporary composers has been
represented in KSO’s progressive programmes, including
Judith Weir, Benedict Mason, John Woolrich, Joby Talbot and
Peter Maxwell Davies. Two exciting collaborations with the
BBC Concert Orchestra have been highlights: Bob Chilcott’s
Tandem and the première of Errollyn Wallen’s lively romp
10
The reputation of the orchestra is reflected in the quality
of international artits who regularly appear with KSO. In
recent seasons, soloists have included Nikolai Demidenko,
Leon McCawley, Jack Liebeck and Richard Warkins, and
the orchestra has worked with guest conductors including
Andrew Gourlay and Nicholas Collon. All have enjoyed
the immediate, enthusiastic but thoroughly professional
approach of these amateur musicians.
Without the support of its sponsors, its Friends scheme
and especially its audiences, KSO could not continue to
go from strength to strength and maintain its traditions of
challenging programmes and exceptionally high standards of
performance. Thank you for your support.
KSO ARCHIVES
KSO ARCHIVES
Now in its 56th year, KSO is one of the most established
non-professional orchestras in Britain. Since its foundation
under Leslie Head, who once lamented the prevalence of
“very boring programmes” and the lack of adventurous
repertoire attempted by other orchestras, KSO has become
well known for its versatility. A review in The Times noted that
“with commendable audacity the KSO continues to venture
gaily into the unknown giving performances of neglected
masterpieces with a bold disregard for the box offices...”.
Decades on, the orchestra’s repertoire remains unaffected by
popular trends, and tonight’s programme is no exception,
offering a mix of the well-known and the eclectic. Antonín
Dvořák’s celebrated Cello Concerto in B minor, a great and
personal work, was last performed by the orchestra in 1989,
whilst the variations written by Dvořák’s friend and mentor
Johannes Brahms have never been played by the orchestra.
Hindemith’s exploration of the relationship between
consonance and dissonance in his Concert Music for Strings and
Brass is also a new addition to the repertoire, and demonstrates
the orchestra’s ongoing musical inquisitiveness. Indeed, the
regularity with which KSO attempts new works has resulted
in an impressively diverse catalogue of past performances.
It is with this in mind that a new project is being launched
for 2012 to collate all existing information regarding the
orchestra’s 55-year history into an easily accessible archive
for both posterity and reference. Though attempts have been
made in the past to catalogue the orchestra’s impressive
repertoire, the new archive (part of which is already visible
on the KSO website) is the first to fully embrace the Internet,
and the multi-media format will make it the most thorough
account of Kensington Symphony Orchestra’s history to date.
For further information concerning the archive please contact
[email protected].
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YOUR SUPPORT
SUPPORTING KENSINGTON SYMPHONY ORCHESTRA
Kensington Symphony Orchestra, now in its 56th season, is widely considered to be London’s premier non-professional orchestra.
However, we receive no Arts Council or local government funding, and the challenge of generating sufficient revenue to enable the
continuation of our six-concert season and other associated activities grows ever more pressing.
Sponsorship
One way in which you, our audience, can help us very
effectively is through sponsorship. Anyone can be a sponsor,
and any level of support—from corporate sponsorship of a
whole concert to individual backing of a particular section or
musician—is enormously valuable to us. We offer a variety
of benefits to sponsors tailored especially to their needs, such
as programme and website advertising, guest tickets, and
assistance with entertaining.
For further information, please e-mail [email protected] or
telephone Neil Ritson on 07887 987711.
For further details about sponsoring KSO, please speak to any
member of the orchestra, e-mail [email protected] or
call James Wheeler on 07808 590176.
The KSO Endowment Trust
An Endowment Trust has recently been established by
Kensington Symphony Orchestra in order to enhance the
orchestra’s ability to achieve its charitable objectives in the
long term.
Our aim is to raise at least £100,000 over the next ten
years. We would be pleased to hear from individuals or
organisations who would like to donate any sum, large or
small, and would also be keen to talk to anyone who might
consider recognising KSO’s work in their will.
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Photo © Sim Canetty-Clarke
The Trust will manage a capital fund derived from donations
and legacies. Each year, the Trustees will make grants from its
income to assist important KSO projects and activities, such
as commissioning new music, which would be impossible to
finance relying on concert funds alone.
YOUR SUPPORT
Friends of KSO
To support KSO you might consider joining our very popular Friends
Scheme. There are three levels of membership and attendant benefits:
Friend
Unlimited concession rate tickets per concert; priority bookings, free
interval drinks and concert programmes.
Premium Friend
A free ticket for each concert, unlimited guest tickets at concessionary rates,
priority bookings, free interval drinks and concert programmes.
Patron
Two free ticket for each concert, unlimited guest tickets at concessionary
rates, priority bookings, free interval drinks and concert programmes.
All Friends and Patrons can be listed in concert programmes under either
single or joint names.
We can also offer tailored Corporate Sponsorships for companies and groups.
Please ask for details.
Cost of membership for the 56th Season is:
Friend
Premium Friend
Patron
£50
£110
£200
To contribute to KSO through joining the Friends please contact David
Baxendale on 020 8653 5091 or by e-mail at [email protected].
KSO Email List
If you would like to receive news of our forthcoming concerts by email,
please join our mailing list. Just send a message to [email protected]
and we’ll do our best to keep you informed.
Honorary Friends
Michael Fleming
Leslie Head
Patrons
Gill Cameron
Malcolm and Christine Dunmow
Gerald Hjert
David and Mary Ellen McEuen
Linda and Jack Pievsky
Neil Ritson and family
Kim Strauss-Polman
Premium Friends
David Baxendale
Barbara Bedford
Fortuné and Nathalie Bikoro
John Dale
John Dovey
Maureen Keable
Nick Marchant
David and Rachel Musgrove
Joan and Sidney Smith
Friends
Anne Baxendale
Robert and Hilary Bruce
Jan and Roy Fieldon
Joan Hackett
Robert and Gill Harding-Payne
Michael and Caroline Illingworth
Mrs Dorothy Patrick
Peter and Marie Rollason
Sandy Shaw
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TONIGHT’S ORCHESTRA
KENSINGTON SYMPHONY ORCHESTRA
First Violin
Alan Tuckwood leader
Sarah Linnell
Sabina Wagstyl
Sarah Hackett
Bronwen Fisher
Katie Dicker
Matthew Hickman
Helen Turnell
Suzanne Doyle
Taro Visser
Liezl Colditz
Adrian Gordon
Susan Knight
Claire Dovey
Second Violin
David Pievsky
David Nagle
Videl Bar-Kar
Kathleen Rule
Louise Ringrose
Zami Jalil
Jill Ives
Judith Ní Bhreasláin
Danielle Dawson
Roanna Chandler
Rufus Rottenberg
Hannah Thomas
Elizabeth Bell
Viola
Beccy Spencer
Guy Raybould
Toby Deller
Sally Randall
Alison Evans
Lucy Ellis
Sophie Zaaijar
Alison Nethsingha
Phil Cooper
Sonja Brazier
Cello
Natasha Foster
Amanda Ferguson
Peter Nagle
Becca Walker
David Baxendale
Annie Marr-Johnson
Ellie Douglas
Vanessa Hadley
Double Bass
Phil Chandler
Steph Fleming
Andrew Lang
Debs Spanton
Flute
Mike Copperwhite
Kirstie Ashdown
Piccolo
Claire Pillmoor
Oboe
Charles Brenan
Chris Astles
Clarinet
Claire Baughan
Chris Horril
French Horn
Jon Boswell
Jim Moffat
Ed Corn
Heather Pawson
Trumpet
Steve Willcox
John Hackett
Leanne Thompson
Michael Collins
Trombone
Phil Cambridge
Ken McGregor
Bassoon
Nick Rampley
Sheila Wallace
Bass Trombone
David Musgrove
Contrabassoon
Robin Thompson
Tuba
Neil Wharmby
Timpani
Richard Souper
Percussion
Joe Kearney
Music Director
Russell Keable
Trustees
Chris Astles
David Baxendale
Zen Edwards
Heather Pawson
Nick Rampley
Neil Ritson
Richard Sheahan
James Wheeler
Event Team
Chris Astles
Zen Edwards
Peter Nagle
Beccy Spencer
Sabina Wagstyl
Marketing Team
Jeremy Bradshaw
Phil Chandler
Jo Johnson
David Musgrove
Louise Ringrose
Membership Team
Phil Cambridge
Cat Muge
Neil Ritson
Programmes
David Musgrove
14
Kampala Music School
10TH ANNIVERSARY APPEAL
TO RAISE £400,000.
To enable Kampala Music School to accommodate more students, it is moving
from its cramped premises in the rented basement of the YMCA building
in Kampala to a much-needed new home. Funds are urgently required to
complete the purchase of the new building and its refurbishment, including
a new Performance Hall.
KMS is a unique and safe place for young people, many of whom
come from deprived backgrounds, to learn and enjoy music – a
healing in itself.
“It is because of singing that I am living.”
Charles Ofayo
CASE FOR SUPPORT
http://friendsofkms.org.uk
Kensington Symphony Orchestra
56th Season 2011–12
Tickets for the remaining concerts in our 56th season may be purchased by emailing [email protected].
Saturday 10 March 2012, 7.30pm
St John’s, Smith Square
with guest conductor William Carslake
Elgar
In The South
Walton
Symphony No. 2
Janáček
Sinfonietta
Monday 14 May 2012, 7.30pm
St John’s, Smith Square
Puccini
Tosca
Monday 11 June 2012, 7.30pm
St John’s, Smith Square
Peter Nagle
The Gull Catchers
(World première)
Sibelius
Symphony No. 7
Brahms
Symphony No. 1