Resident Orchestra of Fairfield Halls, Croydon

Saturday 11 December 20107.30pm

Fairfield Halls, Croydon

David Stern conductorJuliette Bausor flute

Catrin Finch harpDavid Juritz violin

marShSymphony No. 7 La Chasse

mozartConcerto for Flute and Harp, K299

interval

purCellSuite from Dido and Aeneas

BeethovenRomance for Violin and Orchestra No. 2 in F, Op. 50

WeBerSymphony No. 1, Op. 50

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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. After tonight's concert, the orchestra embarks on a 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.

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lonDon mozart playerS

1st violins Simon BlendisSusanna Candlin Simon LewisCatherine Van de Geest(Chair supported by

Anonymous)

Anna De BruinLaura DixonBenjamin RoskamsNicola Gleed

2nd violinsJenny Godson David Angel Jeremy MetcalfeJayne SpencerAdrian DunnFrances Richards

violasJudith BusbridgeCian O’Duill Michael Posner(Chair supported by

Anonymous)

Oliver Wilson

CellosJulia DesbruslaisSarah ButcherAoife Nic Athlaoich(Chair supported by

Elinor Browne)

Rachel Van der Tang(Chair supported by

Anonymous)

Basses Meherban Gillett Andy Marshall

FluteCelia Chambers(Chair supported by

Brian and Doreen Hitching)

oboes Christopher O’Neal(Chair supported by

Pat Sandry)

Josephine Lively

BassoonsAdam MacKenzie(Chair supported by

Alec Botten)

Graham Hobbs

hornsChristopher NewportTony Catterick

trumpets Paul Archibald Peter Wright

timpaniBen Hoffnung

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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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David Stern is Music Director of the Israel Opera, the St. Gallen Symphony Orchestra and Opera and Opera Fuoco, Paris. A native New Yorker, Stern conducts Baroque music with the same intensity as later repertoire, and is equally comfortable with period instrument ensembles as with symphonic orchestras.

This season, Stern will return to the Vienna Chamber Orchestra for concerts in the Konzerthaus, Vienna and will conduct the London Mozart Players for concerts in London and on tour in Germany. Stern regularly conducts in Asia and, in summer 2011, he will return to conduct the China Philharmonic Orchestra and make his debut with the Shanghai Symphony Orchestra. Future highlights include his debut with the Nationale Reisopera, Netherlands.

In 2003, Stern created Opera Fuoco, an ensemble that marks a new generation of period instrument groups approaching classical and baroque repertoire with renewed vigor. This season, they will première JC Bach's Zanaïda at the Leipzig Bach Festival and will tour the concert version of this piece in Europe, including a performance at the Cité de la Musique in 2011/12. In February 2010, Opera Fuoco revived their production of Don Giovanni, staged by Yoshi Oida, in the première season of the reopening of the Théatre Royal at Versailles. He has also created the Opera Fuoco Troupe, a vehicle for young singers to perfect their talents and develop their international careers.

In his first seasons as Music Director of the Israel Opera, Stern championed two contemporary Israeli Operas, by Josef Bardanshvilli and Gil Shochat.

Future projects include Gershwin’s Porgy and Bess and Mozart's The Magic Flute. In St Gallen his 2010/11 season has started with a new production of Wozzeck and will continue with revival performances of Madame Butterfly.

He made his operatic debut in New York with a production of Britten’s Curlew River, and in 2008 at Glimmerglass Festival with a highly acclaimed production of Giulio Cesare. He has conducted at the Opéra de Lyon, ENO, Hong Kong Opera, Gurzenich Orchestra, Ensemble Orchestral de Paris, Orchestre de Paris, Orchestra Nazionale de la RAI in Torino and the Prague Philharmonia Chamber Orchestra. He continues his long standing relationship with the Basel Chamber Orchestra with future projects planned in 2012.

Born in Warwickshire in 1979, Juliette Bausor studied the flute with Anna Pope at the Purcell School of Music before attending the Guildhall School of Music and Drama. In her third year she studied at the Conservatoire Nationale Superieur de Musique et de Danse de Paris, and graduated with first-class honours in July 2001. During her studies, Juliette has won numerous prizes and awards. In 1997 she won the Gold Medal in the Shell/LSO Competition, playing the Nielsen Flute Concerto with the London Symphony Orchestra in the Barbican Hall. She then won the Woodwind Final of the BBC Young Musician of the Year Competition in 1998, leading to her debut in the Waterfront Hall, Belfast, with the Ulster Orchestra, before winning the Worshipful Company of Glass Sellers’ Trophy in the Guildhall Gold Medal Competition 2000.

Juliette has performed as guest Principal Flute for the Royal Scottish National Orchestra and the BBC National Orchestra of Wales, as well as having been Principal Flute in the European Union Youth Orchestra and the National Youth Orchestra of Great Britain. She is the current Principal Flute for Northern Sinfonia. She regularly performs as a soloist in major venues and festivals throughout Britain and abroad. Juliette is also a member of the Linos Wind Quintet.

Juliette was appointed Principal Flute of the London Mozart Players in February 2010.

DaviD SternConductor

© Sergei Berm

eniev

Juliette BauSorFlute

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Inspired to learn the harp at the age of five, Catrin�s rise to prominence started almost immediately, achieving the highest mark in the UK for her Grade VIII exam at the age of nine. Catrin graduated from the Royal Academy of Music in 2002 where she studied with Skaila Kanga and received the Queen’s Award for the most outstanding student of her year. In 1999, Catrin won the Lily Laskine International Harp Competition in France, and in May 2004 she was nominated for a Classical Brit Award. She has performed extensively throughout the USA, the Middle East, Asia and Europe, and has appeared with many of the world’s top orchestras including the Boston Pops, New York Philharmonic, Philharmonia, Academy of St Martin in the Fields, Royal Philharmonic Orchestra, BBC National Orchestra of Wales, London Mozart Players, English Chamber Orchestra, Charlotte Symphony, Lake Charles Symphony, North Carolina Symphony and Manchester Camerata.

2009 saw Catrin’s recording of JS Bach’s Goldberg Variations released by Deutsche Grammophon, followed by a UK concert tour of the Goldberg Variations. 2009 also saw the opening of The ‘Catrin Finch Centre’ in Wrexham, a new £3m state-of-the-art conference and performance centre at Glyndwr University, named to honour Catrin’s contribution to the music industry in Wales. She has collaborated closely with composer Karl Jenkins, including the première of a new double harp concerto commissioned by HRH The Prince of Wales. Catrin is currently working on new works for the harp with composers John Rutter and Howard Goodall. Known for her work within the community and with the younger generation, Catrin is committed to promoting the harp and classical music in general to a new and wider audience.

Born in Cape Town, South Africa, David Juritz began violin lessons at the age of six with Noel Travers. He then took up scholarships to study at the Royal College of Music in London, where he won all the top prizes for violin and was the recipient of the College’s highest award, the Tagore Gold Medal.

On leaving the College he joined the English Chamber Orchestra, who sponsored his South Bank debut at the Purcell Room in 1985. Since then he has appeared as a soloist and chamber musician in all the major concert halls of the UK as well as performing in North and South America, the Far East, Europe, South Africa and Australia.

In 1991 he was appointed Leader of the London Mozart Players, a position he held until earlier this year. As well as directing from the front desk, David works frequently as conductor, and in this role he has given many world premières, including new works by Cecilia McDowall, Geoffrey Burgon, Lynne Plowman and Geoffrey Hanson. He works as a guest–director with various ensembles and orchestras. His recording of Vivaldi’s The Four Seasons with the London Mozart Players has been acclaimed as one of the finest interpretations on modern instruments.

David was a soloist with the London Mozart Players in the 2006 BBC Promenade Concerts. February 2007 saw the first concerts with his new group, The London Tango Quintet, and in June he embarked on an unusual project, ‘Round the World and Bach’. For four and a half months David ‘busked’ his way round the world, visiting over 50 cities in 24 countries, playing Bach’s Sonatas and Partitas for solo violin. During this journey, which attracted worldwide media attention, he raised money to set up a new fund, Musequality, for start-up music projects in the developing world.

He plays a violin made in Piacenza in 1748 by J B Guadagnini.

Catrin FinChHarp

DaviD JuritzViolin

Symphony no. 7 La Chasse

I AndanteII AllegrettoIII Allegro

John Marsh was born in Dorking, Surrey in 1752. The young Marsh was moved to Romsey in 1768 where he took up a position as a solicitor, thus unable to continue his formal music studies. In 1783, Marsh inherited an estate in Nethersole, Kent, and installed a large organ within the house. He was then able to give up law and concentrate fully on his music, where he led the subscription concerts at Canterbury and occasionally deputised for the cathedral organist. He finally settled in Chichester in 1787, where he became leader of what he called “a very respectable amateur and professional bandˮ, for whom he composed a quantity of music. His Symphony No.7 from the Chichester Symphonies was composed in 1790.

Symphony No. 7 paints a picture of the British hunting tradition, which Marsh would have been accustomed to living in rural southern England. The first movement opens with a vibrant horn call, calling the hunters together in preparation for the hunt. Rather than the expected slow second movement, a spritely Allegretto symbolises the horses ‘trotting and cantering’ whilst in search of the fox. The finale, simply headed Chasse (Allegro) begins the chase and has a dance-like quality to it, helped by the quick 6/8 time signature.

Marsh was one of the most prolific composers in England during the late 18th/early 19th Century, writing at least 39 overtures and symphonies, 12 concerto grossi, keyboard and organ music and a large body of sacred and secular vocal music. However his music was not well received outside of his immediate circles, mainly due to his amateur status, a fact he fully acknowledged. Despite Marsh�s “amateurˮ standing, scholars claim that the technical aspects of his music demonstrate an “integrity and confidence that spring from his mastery of a relatively limited musical cultureˮ, helped by his constant movement across the south of England.

Concerto in C for Flute and harp, K299

I AllegroII AndantinoIII Rondo: allegro

During Mozart’s visit to Paris in 1778, one of the noblemen he met was the Duke of Guines. The Duke was not only a diplomat of distinction, but also a music lover who took kindly to Mozart. He asked Mozart to teach his daughter and also commissioned him to write a concerto for flute and harp. The Duke was an enthusiastic flautist and his daughter played the harp. Mozart did not care for either instrument, but he dutifully obliged and wrote this Concerto. Mozart wrote to his father: “the Duc de Guines, whose daughter is my pupil in composition, plays the flute extremely well, and she plays the harp magnifique... She is, however, extremely doubtful as to whether she has any talent for composition”. Nor did it turn out to be worth the trouble, for according to a later letter the lady got married shortly after: “...and (what is no great loss to my reputation) she will not continue her studies. Moreover I shall lose no money, for he only pays me whatever everyone else does... He has already had, for the last four months, a concerto of mine for flute and harp for which he has not yet paid me.”

Written for small orchestra, it is suitable for the salon. This is understandable as it was written for amateur soloists rather than professionals. In line with the standard concerto form, the two soloists wait for the orchestra to present the opening material of the Allegro, and then take it up in unison. The movement as a whole is most charming in the dialogue-like writing for the flute and harp and in its overflowing lyricism. The Andantino is accompanied only by the strings (the violas are divided into two parts for a richer sound, something Mozart did more often as he was a violist himself). It is warm, uncomplicated and somewhat florid. The finale is a lively rondo with a veritable parade of attractive tunes. The concerto as a whole, notwithstanding its background, stands as one of the most pleasant works from Mozart’s time in Paris.

© Femke de Vos Burchart www.lmp.org

John marSh (1752–1828)

WolFgang amaDeuS mozart(1756–1791)

interval

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Suite from Dido and Aeneas

I OvertureII The Triumphing DanceIII Chorus (in a manner of an Echo)IV Echo Dance of FuriesV RitornelleVI The Sailors’ DanceVII The Witches’ Dance

Born in St Ann’s Lane, Old Pye Street, Westminster in 1659, Henry Purcell studied as a chorister under Pelham Humphrey, who was himself a student of the eminent French composer, Jean-Baptiste Lully. Purcell was a hugely prolific composer during his short life, devoting himself almost entirely to the composition of sacred music, and was appointed organist at Westminster Abbey in 1679. Purcell died at his home in Dean’s Yard, Westminster, in 1695, although the cause of his death remains unknown; one theory suggests that he died after catching a chill from being locked out of his house by his wife after returning home from the theatre late one evening. However, a more likely cause of his death is suggested as tuberculosis.

Dido and Aeneas is based on a story from Virgil’s Aeneid, recounting the love story between Dido, the Queen of Carthage, and the Trojan hero Aeneas. It is in three acts, and Purcell’s only all-sung opera, with a libretto written by Nahum Tate. The first known performance took place no later than July 1688, at Josias Priest’s girls' school in Chelsea, London.

The opera contains many dance scenes, most of which are included in this suite. The inclusion of dance movements in the opera may also be explained through the influence of French music on the opera. French opera at the time often had ballet music, but this was not very fashionable at the time in England. Another reason for the number of dance scenes may be because Josias Priest was not only a headmaster, but also a dance master, and so may have been keen to include as many girls in the new opera as possible.

© Caroline Molloy

romance for violin and orchestra no. 2 in F, op. 50

Beethoven’s Romances for violin and orchestra Nos. 1 in G, Op. 40 and 2 in F, Op. 50, appear to have been composed between 1798 and 1802 – a time when Beethoven was first beginning to suspect that he was losing the one faculty so seemingly essential for a musician – his hearing – and composer and then, via the Heiligenstadt Testament, coming to some sort of reconciliation with the prospect.

At the turn of the 19th century, the romance was a popular musical form, slow in tempo and simple in structure. The simplicity, lyricism and form of the vocal romance were easily adapted to instrumental composition, although in France and Germany the term came to indicate an extravagant, sentimental or ‘romantic’ tale in either prose or strophic verse. It was a natural musical form for Beethoven, who considered himself a �tone poet�. The Romance in F was probably first performed in November 1798 by Ignaz Schuppanzigh, whose Schuppanzigh Quartet – probably the first professional string quartet – was later to première many of Beethoven’s string quartets. It was published in 1805, but the autograph score has the same physical characteristics as the score of Piano Concerto No. 2, which he also completed in around 1798. According to Barry Cooper in Beethoven (Oxford University Press, 2000), both works may have been written much earlier – the Piano Concerto is a probable revision of a Bonn work from 1791, before the move to Vienna, and the Romance could be a reworking of the missing slow movement of the Violin Concerto in C Major (WoO 5) of which only part of the first movement has survived. In the Romance in F, Beethoven uses instrumentation of a type by then largely abandoned in Vienna (flute, two each of oboes, bassoons and horns, and strings). Despite Beethoven’s gift for programmatic music and his use of phenomenal violin technique, this Romance leaves the listener more bemused than fulfilled.

© Elizabeth Boulton

henry purCell(1659–1695)

luDWig van Beethoven(1770–1827)

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Symphony no. 1 in C, op. 50

I Allgro con fuocoII AndanteIII Scherzo – TrioIV Presto

Weber was born in Eutin, Germany in 1786; his father, Franz Anton von Weber, was the founder and director of the Weber Theatre Company; his mother, Genovefa, a Viennese singer. His father had ambitions of turning Carl into a musical prodigy, much like his nephew-by-marriage, Wolfgang Amadeus Mozart (Mozart married Constanze Weber, daughter of Franz Anton’s brother). His early musical education was said to be slow to start, due to the constant travel involved with his father’s theatre company. However, during a break in travel in Hildburghausen, his musical education flourished under Johann Peter Heuschkel and Weber went onto further study with Michael Haydn (brother of Joseph) in Salzburg. An early figure in German Romanticism, Weber had a significant influence in shaping Germany’s new–found enthusiasm for opera as well as influencing other composer’s compositional style and technique, most notably Richard Wagner.

Composed between mid-December 1806 and early January 1807, Symphony No. 1 was written when Weber was at the court of Duke Eugen Friedrich Heinrich von Württemberg, for whom Weber started to work in 1806. The orchestration reflects the resources Weber had available to him at the time; it is notable in its lack of clarinets, for which he wrote other works extensively. The symphony conforms to a four-movement model, although in style it is generally considered to be more forward looking than works of many of Weber’s contemporaries. The atmospheric Andante looks forward to the way Beethoven would present more sustained slow movements in his later symphonies, rather than a more succinct approach taken by other 18th century composers. The Scherzo may also be seen to be following Beethoven’s lead by pursuing a Scherzo rather than a Minuet. The symphony then returns to a more

‘usual’ rondo structure for the final movement, usually encountered in a Classical symphony.Weber, best known for his operas and concertos, never regarded himself a ‘symphonist’ and admitted he had some problems working within the structure of the genre. He recognised the formal deficiencies within his symphonies, even suggesting the opening movement to his Symphony No. 1 is, in fact, an overture rather than a true symphonic movement. However, the style of this symphony hints at the style of the clarinet concertos, written some time later.

Whilst visiting London in 1826, Weber succumbed to tuberculosis, aged 39. He was buried in London, but his remains were exhumed 18 years later and reburied in the family vault in Dresden. The eulogy at his reburial was performed by Richard Wagner.

© Martin Sargeson

Carl maria von WeBer(1786–1826)

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)

internJennifer Lambert

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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 HotelsPetwood Hotel, Woodhall SpaSimmons & 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

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silver supportersAnonymous x 17Irene & Leslie AaronsMr M P BlackIan GibbChantal KeastNick & Jane MallettMr & Mrs M RiversMrs Marion Sunley

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Supporting the lmpThe LMP would like to thank its supporters

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ASIAN MUSIC CIRCUIT - CROYDON MUSIC AND ARTS

CROYDON SUMMER FESTIVAL - CROYDON YOUTH MUSIC ASSOCIATION

FAIRFIELD - HOLIDAY INN EXPRESS - JONATHAN MYALL MUSIC

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ForthComing lmp ConCertS FairFielD hallS, CroyDon020 8688 9291

Wednesday 19 January 7.30pm

KODÁLY Dances of GalantaRODRIGO Concierto de AranjuezMENDELSSOHN Symphony No. 3 Scottish

Conductor Jaime MartínGuitar Jadran Duncumb

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