Resident Orchestra of Fairfield Halls, Croydon

Wednesday 19 January 20117.30pm

Fairfield Halls, Croydon

Jaime Martín conductorJadran Duncomb guitar

KODÁLYDances of Galanta

rODrigOConcierto de Aranjuez

intervaL

MenDeLssOhnSymphony No. 3 in A minor Scottish

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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 a mingling in the central foyer. This is a great opportunity to chat with tonight's 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.

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 recently visited Spain, Belgium and France. The orchestra has just returned from a succesful nine day tour of 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. It had a residency for over nine years in the East Lindsey District of Lincolnshire, generating a huge following for live classical music in the area; a similar association with South Holland District Council allows the orchestra to reach into the heart of the Fenland communities. 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. Other ventures include visiting care homes, presentations in SureStart centres and concert demonstrations in primary and secondary schools.

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.

The LMP performance of Tansy Davies� As with Voices and with Tears, performed at Portsmouth Cathedral, by Portsmouth Grammar School Chamber Choir has been nominated for a South Bank Sky Arts Award 2011.

For more information about the orchestra's activities, please visit www.lmp.org

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LOnDOn MOzart pLaYers

1st violins Krysia OsostowiczSusanna Candlin John MillsNicoline Kraamwinkel(Chair supported

by Anonymous)

Ann CriscuoloMartin SmithCatherine Van de GeestAnna De Bruin

2nd violinsJenny GodsonMiriam Teppich Jeremy MetcalfeAnna HarphamVernon DeanFrances Richards

violasJulia O'RiordenMichael PosnerMatthew Quenby(Chair supported

by Anonymous)

Emily Marsden

CellosJulia DesbruslaisAoife Nic AthlaoichJulia Graham(Chair supported by

Elinor Browne)

Rowena Calvert(Chair supported by

Anonymous)

Basses Stacey Watton Andy Marshall

FlutesCelia Chambers(Chair supported by

Brian and Doreen Hitching)

Robert Manasse

Oboes Gareth Hulse(Chair supported by

Pat Sandry)

Katie Clemmow

ClarinetsAngela MalsburyMargaret Archibald

BassoonsSarah Burnett(Chair supported by

Alec Botten)

Robert Porter

hornsChristopher NewportTony CatterickRichard LewisMartin Grainger

trumpets Paul Archibald Simon Gabriel

timpaniBen Hoffnung

percussionGlyn MatthewsSacha Johnson

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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.

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After a distinguished career as a flute soloist, Jaime Martín entered the world of orchestral conducting in 2007 and just one year later was championed by Sir Neville Marriner as an emerging conductor during a joint tour of Spain with the Orquestra de Cadaqués. A great natural conducting talent, he has since then worked with many orchestras in Europe including the Barcelona Symphony, Manchester Camerata, Orquesta Sinfónica de Tenerife, Irish Chamber Orchestra, Galicia Symphony and Orquesta Sinfónica de Castilla y León, among others. He has also recorded with the Orquestra de Cadaqués conducting Beethoven’s Third Symphony and the Sinfonietta by Ernesto Halffter on the Tritó label, as well as works by Agustí Charles with the Orquestra Simfònica de Barcelona i Nacional de Catalunya.

Born in Santander, Spain, Jaime Martín studied at the Music Academy in Madrid and later at The Hague. As a flute soloist he performed with the leading orchestras in Europe under the baton of distinguished conductors including Daniele Gatti, Andras Schiff, Gennady Rozhdestvensky, Sir Neville Marriner and Gianandrea Noseda. He has made recordings for Sony and EMI and also premièred new works by such composers as Deirdre McKay, Xavier Montsalvatge, Jesús Rueda and Mike Mower.

This year Jaime Martín will make his conducting debut with the Academy of St Martin in the Fields, London Mozart Players, Orchestre Philharmonique de Radio France and Orchestre National de Lyon, and will also be making his operatic debut with

English National Opera conducting performances of Rossini’s Barber of Seville.

Jaime Martín teaches at the Royal College of Music in London.

JaiMe MartÍnConductor

© Gabriel Q

uintana

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Born in Sheffield in 1989, Jadran began to play the guitar at the age of eight. Moving to Norway in 1999, he was admitted to the Young Talents section of Barratt Due Musikkinstitutt in 2002, where he was taught by Vegard Lund. He also began weekly lessons with Prof. Sven Lundestad at the Norwegian Academy of Music in 2006. Jadran is a multiple prize-winner at the Norwegian Music Competitions for Youth, having won 1st prizes in both the guitar and duet classes with his pianist brother, Emil. In 2008, Jadran was a finalist in Norwegian television’s “Virtuos” concerto competition, performing with the Norwegian Radio Orchestra, as well as winning the Strings category in the BBC Young Musician of the Year. Jadran has performed all over Norway and Europe, including a performance of Rodrigo’s Concierto de Aranjuez with the BBC National Orchestra of Wales in Cardiff’s Millenium Centre and a solo recital in the Wigmore Hall. Recent engagements have included recitals in MusicAncona, Italy, and the Trigonale Early Music Festival, Austria, where he also played the baroque guitar in a performance of Purcell’s Fairy Queen with I Fagiolini and the Harmony of Nations Baroque Orchestra. Future engagements include concerts in the UK, Norway, Italy, Germany and Austria. Jadran regularly gives concerts with his brother to great acclaim. Together they have performed in festivals including Olavsfestdagene in Trondheim, Norway, and the Victoria International Arts

Festival in Victoria, Malta, and in venues such as the Wigmore Hall and King‘s Place in London. Jadran was awarded a scholarship to the Royal College of Music in London, where he currently studies the classical guitar with Gary Ryan and theorbo with Jakob Lindberg.

JaDran DunCOMBGuitar

© N

eil Bennett

Dances of galanta

I Lento – MaestosoII Allegretto moderatoIII Allegro con motoIV AllegroV Allegro vivace

Kodály grew up in a healthy musical environment – his father played the violin and his mother sang and played the piano – although during his childhood he received very little formal musical tuition. He learnt to play the piano, violin, viola and cello (largely on his own) to such a standard that he was able to take part in chamber music-making with his parents and as a member of the school orchestra. He began singing in a church choir and composing; indeed many of his early compositions were actually performed, including Overture in D Minor for Orchestra in 1898 and Trio in E-flat for Two Violins and Viola in 1899.

During his school years, Kodály became fascinated with the unspoilt folksongs of his native Hungary. At the University of Budapest, he studied Hungarian and German; however, he received such a broad education that he was able to take classes in composition and music education, studying with Hans Koessler (who would also teach composition to the likes of Béla Bartók, Emmerich Kálmán and Ernst von Dohnányi). In 1906, he completed his PhD thesis on the stanzaic structure of Hungarian folksongs, using examples he had collected throughout his early years living in rural Hungary.

The Dances of Galanta were composed in 1933 and dedicated to the Budapest Philharmonic Society to celebrate their 80th anniversary. During this time, Kodály produced a large body of orchestral works, including his Dances of Marosszek (1930), Peacock Variations (1939) and the Concerto for Orchestra (1939). The dances take their name from the market town of Galanta, between Vienna and Budapest, where Kodály spent seven years of his childhood. They are in the style known as

verbunkos (from the German “werbung”, meaning “recruitment”), and were used by the Austrian army to entice young men to sign up. The dances reflect the traditional verbunkos style, with slow figures alternating with fast ones; Kodály uses solo instruments (cello, horn, oboe and clarinet) interspersed with rushing strings to demonstrate this and the soldiers’ “swagger, giving way to irresistible foot-stamping”.

© Martin Sargeson

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zOLtÁn KODÁLY(1882–1967)

www.lmp.org

JOaquÍn rODrigO(1901–1999)

intervaL

Concierto de aranjuez

I Allegro con spiritoII AdagioIII Allegro gentile

The guitar plays a vital part in the musical life of our times. In one form or another it dominates the folk music of the western world, in particular, of course, that of Spain and the Spanish gypsies. The instrument is reputed to have been brought to Spain by the Moors, and to Southern Italy by the Spaniards. It became generally popular on the continent in the early nineteenth century, but a great deal of good and interesting music was composed for the instrument long before that.

The main function of the guitar has always been the accompaniment of songs, but the famous virtuosi of our time have done much towards establishing the Spanish guitar as a solo instrument. Joaquin Rodrigo has written a number of compositions for the guitar, and the work that secured his fame as one of the foremost Spanish composers was the composition of this concerto.

The Concierto de Aranjuez was composed in Paris in 1939 and first performed the following year in Barcelona. The reference to Aranjuez (just south

of Madrid) is intended to evoke the royal palace and the magnificent gardens in that town where the kings of Spain used to spend the summer. The first movement of the concerto, Allegro con spirito, begins with a guitar solo over a pedal octave ‘D’, played by the divided basses. A characteristic rhythm – two beats followed by three – pervades the whole movement. In the Adagio the soloist accompanies the cor anglais before playing the extended theme. The movement is in the form of a conversation between the wind instruments and the guitar, but there is an important solo cadenza near the end of the piece. The Allegro gentile is once more based on an alternating pulse of two and three beats, but while these changes in the first movement took place within bars of the same length, the theme of the finale is spread over an upbeat, one bar in 3/4 and two 2/4 bars. The result is an intriguing rhythm of the kind common to all countries on the northern shores of the Mediterranean. This insistent rhythm supports a simple tune which keeps appearing in various guises throughout the movement. In the end it builds up to an orchestral climax, only to leave the guitar almost on its own for the last bars, which end pianissimo.

© Stefan de Haan

The Palace at Aranjuez

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symphony no. 3 in a minor Scottish

I Andante con moto – Allegro un poco agitatoII Vivace non troppoIII AdagioIV Allegro vivacissimo – Allegro maestoso assai

Mendelssohn made the first sketches for his third symphony in the summer of 1829. The inspiration for this work came from impressions he had gathered during a tour of Scotland that lasted three weeks. Describing the palace of Holyrood in Edinburgh, he wrote to his parents: “There I found, I believe, the beginnings of my Scottish Symphony”. After seeing Edinburgh, Mendelssohn and his friend Klingemann visited Sir Walter Scott (who had no time for them) and continued to Stirling, Blair Atholl, Glasgow and Fort William.

Having left Scotland, he found it difficult to recapture the Scottish impressions, particularly when he went to Italy, where the blue skies prevented him, as he said, “from returning in his mind to the misty Scottish mood”. The result was that the completion of the symphony was much delayed, and when he finished it in January 1842, over 12 years had passed since he had made his first sketches. The Scottish Symphony was first performed under Mendelssohn’s direction in Leipzig on 3 March 1842 and again in London on 13 June, with such success that he asked permission to dedicate the work to Queen Victoria. He went to see her in Buckingham Palace where she sang one of his songs to him and graciously accepted the dedication. Each movement is to move immediately to the next without pause, setting it apart from Mendelssohn’s other symphonies. To the tempo markings of each movement Mendelssohn adds directions reflecting the character of the music, which convey

Mendelssohn’s impressions of the Scottish landscape.

The orchestration of the first movement is among Mendelssohn’s most dense; curious and exhilarating modulations open both the development section and coda. The development section is concise and effective. When the main theme returns in the recapitulation and the introduction returns in the coda, the themes are underpinned with a counter-theme in the cellos. The coda also contains the famous chromatic “wave”, played by the strings. The cheerful Scherzo, marked Vivace non troppo, is derived from Scottish folk music. It stands in stark contrast to the thick first movement and is in sonata form. The movement fades and dissolves to prepare for the ensuing Adagio. Resignation reigns in the third movement with an Adagio cantabile. A clear reference to Beethoven appears in the low strings, which play a motive resembling the theme of the Allegretto of Beethoven’s Seventh Symphony. Folk melodies appear again in the Finale, an unusually powerful and militant movement for Mendelssohn. A leaping, aggressive theme in the violins begins the movement, appropriate for Mendelssohn’s direction, Allegro guerriero (fast and warlike). Fragmentation technique propels the development section as themes are layered and treated contrapuntally. After the recapitulation we do not hear a coda with thematic references to the exposition. Instead, Mendelssohn shifts to a Maestoso coda, in which we hear new material and the theme from the introduction, which is again taken through variations and now conveys an air of triumph after the “battle”.

© Femke de Vos Burchart

FeLix MenDeLssOhn(1809–1847)

have you enjoyed tonight's concert? We would appreciate your comments on comments@lmp.org or call 020 8686 1996.

patronHRH The Earl of Wessex KG KCVO

music directorGérard Korsten

associate conductorHilary Davan Wetton

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 librarianAnna BinneyMartin Sargeson (maternity cover)

internJennie Lambert

London Mozart PlayersSuite 26Suffolk HouseCollege RoadCroydonCR0 1PE

T: 020 8686 1996F: 020 8686 2187E: info@lmp.orgW: www.lmp.org

Registered in EnglandNo. 18720034

Registered CharityNo. 290833

LMp ManageMent

LMp CDs On saLe at the LMp taBLeincluding our latest releases:

The new Contemporaries of Mozart release:

Boccherini symphonies

The award-winning disc with Mendelssohn’s Concerto for

Piano and Violin

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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 KCVO

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 Prince's Foundation for Children & the Arts

benefactorsAnonymous x 1Daniel & Alison BentonAndré & Rosalie HoffmannSylvia HoDudley & Margaret MeadThe Ross Goobey Charitable TrustMr K G SmithMr D & Mrs M WechslerJeffrey & Rosamund West

life friendsMichael & Barbara Hill

platinum supportersAnonymous x 1Mr & Mrs C ClementiDavina FreelandDerek & Deirdre LeaDerek & Bunty MillardMichael J RoseMichael Woodhouse CVO

golden supportersAnonymous x 10David BeeverKate BinghamGeoff & Mary Hearn

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

silver supportersAnonymous x 17Irene & 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 19 February 7.30pm

BARTÓK Romanian DancesDVOŘÁK Violin ConcertoPIAZZOLLA Melody in A minor & TangoMOZART Symphony No. 36, K425 Linz

Conductor Joseph WolfeViolin Chloë Hanslip

Wednesday 16 March 7.30pm

MOZART Idomeneo OvertureRAVEL Mother Goose SuiteSHOSTAKOVICH Piano Concerto No. 2FAURÉ Masques et BergamasquesBEETHOVEN Triple Concerto

Conductor/piano Howard ShelleyViolin Tasmin LittleCello Timothy Hugh

Wednesday 20 april 7.30pm

COPLAND Appalachian Spring SuiteBARBER Violin ConcertoDVOŘÁK Symphony No. 9 From the New World

Conductor Joseph SwensonViolin Thomas Bowes

saturday 14 May 7.30pm

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

Conductor Gérard KorstenOboe François Leleux

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 caroline@lmp.org or call 020 8686 1996.