HOLSTRACHMANINOVVAUGHAN WILLIAMS

MONDAY 26 NOVEMBER 2018ST JOHN’S SMITH SQUARE

63RD SEASON2018/19

COVER IMAGE: William Blake’s watercolour Job’s Evil Dreams (1805-06; detail). The artist’s illustrated edition of the Book of Job inspired Ralph Vaughan Williams’s piece. Photo: courtesy of the Morgan Library & Museum, New York

In accordance with the requirements of Westminster City Council, persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in the venue. Refreshments are permitted only in the restaurant in the crypt, which is open for licensed refreshments during the interval and after the concert. Please ensure that all digital watch alarms, pagers and mobile phones are switched off.

PHONE 020 7222 1061 ONLINE sjss.org.uk

MONDAY 26 NOVEMBER 2018 7.30PMST JOHN’S SMITH SQUARE LONDON

RUSSELL KEABLE ConductorALAN TUCKWOOD Leader

ST JOHN’S SMITH SQUARE

St John’s Smith Square Charitable Trust: registered charity no. 1045390; registered in England; company no. 3028678. KSO: registered charity no. 1069620

HOLSTBallet music from The Perfect Fool

VAUGHAN WILLIAMSJob: A Masque for Dancing

Interval 20 minutes

RACHMANINOVSymphonic Dances

4 KENSINGTON SYMPHONY ORCHESTRA

TONIGHT’S PROGRAMME GUSTAV HOLST 1874-1934

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HOLST Ballet music from The Perfect Fool (1918-22)

GUSTAV HOLST, along with his soulmate, Ralph Vaughan Williams, became a leading figure in the great flowering of English music in the early 20th century. The Planets, Holst’s most celebrated work, is an orchestral tour de force, but he wrote music of startling originality in many forms, drawing inspiration from sources as varied as English folk-song, oriental melody, the Apocrypha and Sanskrit literature.

Danced by the Spirits of Earth, Water and Fire, Holst’s ballet makes a magical opening to his satirical opera The Perfect Fool (1918-22). The outlines of the work, for which the composer wrote his own libretto, came to him while he was in Thessaloniki at the end of the First World War, organising music for troops waiting to be demobilised. The ballet music, which Holst adapted from The Sneezing Charm (1918), was performed separately in 1921.

The first complete production, at Covent Garden in May 1923, mystified audiences, one critic describing the opera as “a quaint,

rather naïve hotch-potch”. Holst admitted that “the libretto of the Fool needs a light touch, and I haven’t found one”, but the ballet music has deservedly survived.

The Wizard summons the Spirits of Earth with a trombone invocation that rises in angular fury and descends in deliberate steps. He orders the spirits to bring him a cup, depicted by a repeated bass line with staccato chords and fast, ascending running notes above.

The first dance, with seven beats in a bar, is clumsy and intentionally earthbound, with more earthiness conjured up by husky double basses and a ponderous contrabassoon. After the climax of their dance, the spirits scurry underground. They leave behind a smooth rising phrase, played by a solo viola, that calls up the Spirits of Water.

Cool woodwind chords and fifths in the harp and celeste lead to a second dance, in which the spirits bring a magic potion – the essence of love – to a prominent flute. The Wizard then invokes the Spirits of Fire, whose dance crackles in a sudden spurt, with staccato fifths in the bassoons that were described by Holst’s daughter, Imogen, as “sounding as brittle as burning stubble”.

Close friends Gustav Holst (left) and Ralph Vaughan Williams, in the Malvern Hills in late 1921

SERGEI RACHMANINOV 1873-1943

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RACHMANINOV Symphonic Dances (1940)

SERGEI RACHMANINOV was one of the few musicians to combine three disciplines with equal success. He composed some of the world’s greatest works for piano, he was one of the most subtle and richly imaginative pianists in history and, before the First World War, he was an internationally acclaimed conductor. But it was for his compositions, above all, that he wanted to be remembered.

He remained unmoved by Modernism, clinging to tonality, structure, harmonic beauty and expressive melodies. “I try to make my music speak simply and directly that which is in my heart at the time of composing,” he wrote.

The haunting Symphonic Dances are Rachmaninov’s stunningly scored final masterpiece. He completed the short score in the summer of 1940 at an estate on Long Island, New York, where he was able to relax after an exhausting season of 41 concerts.

The conductor Eugene Ormandy and the Philadelphia Orchestra had agreed to give the first performance of the work in January 1941, so Rachmaninov had to cram the orchestration into every spare minute once he began to tour again in October 1940, proofs of the parts following him from town to town. The critical response was cool, but it warmed up after performances by the New York Philharmonic under Dimitri Mitropoulos in December 1942.

The taut first movement is mainly constructed from the two opening ideas: a march-like theme based on three descending notes, and energetic staccato chords. The long, haunting melody of the more expansive central episode appears first in the alto saxophone (an instrument never previously

used by Rachmaninov) before being taken over by unison strings, the movement ending in a sunset glow with a quotation from the composer’s withdrawn First Symphony.

The Waltz opens with a sinister, snarling brass fanfare. This is a haunted ballroom, with shifting, ambiguous harmonies and unsettling, icy, chromatic woodwind swirls. After a feverish, almost hysterical climax, the movement closes with one of Rachmaninov’s favourite scurrying endings, as if the ghostly dancers had suddenly disappeared.

The final movement alternates passages of dark introspection, based on the Dies irae (“Day of Wrath” from the Mass for the Dead), with fast dance music that draws on a much-altered version of the Russian Orthodox chant “Blessed Be the Lord”, which Rachmaninov had used in his Vespers (1915). The composer wrote “I thank thee, Lord” at the end of the score, perhaps indicating that the movement symbolises God’s victory over death.

Sergei Rachmaninov with members of the cast from the première of his opera Francesca da Rimini, in Moscow in 1906

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TONIGHT’S PROGRAMME

VAUGHAN WILLIAMS Job: A Masque for Dancing (1931)

THE LIFE AND MUSIC of Ralph Vaughan Williams contain many paradoxes. He came from a privileged background, but was a lifelong socialist; he was an agnostic and a great-nephew of Charles Darwin, but wrote some of the best-known Christian hymn tunes; and although his music is seen as quintessentially English, it was admired by composers including Sergei Rachmaninov, who was deeply moved by the première of Serenade to Music when he played in the same concert, in honour of the conductor Henry Wood, in October 1938.

The idea of recognising the centenary of William Blake’s death in 1927, with a ballet based on the artist’s Illustrations of the Book of Job, came from Geoffrey Keynes, a surgeon and Blake scholar. He was helped by his sister-in-law, the artist Gwendolen Raverat, who was Vaughan Williams’s cousin.

The scenario was written in French, so that it could be offered to Sergei Diaghilev for performance by his Ballets Russes, but he

rejected it as being “too English” and “old-fashioned”. Nonetheless, Vaughan Williams went ahead, completing the work in time for a concert performance that he conducted at the Norfolk and Norwich Festival in 1930.

The first staged performance, at London’s Cambridge Theatre in July 1931, was conducted by Constant Lambert and choreographed by Ninette de Valois. Gwendolen Raverat designed the sets and costumes, and the exacting role of Satan was danced by Anton Dolin.

By insisting on the title Masque, Vaughan Williams stressed that he was aiming for something more static than traditional ballet (he particularly disliked dancing sur les pointes). Inspired not only by Blake’s illustrations and the Old Testament texts, but also by the paintings of Rubens, Botticelli and Mantegna, he created one of his finest works.

Written at the height of the composer’s powers, it is a magnificent fusion of all the elements of his style. As the Vaughan Williams expert Alain Frogley wrote: “Its haunting luminosity captures the dream-like quality of Blake’s vision, and the composer conjures an almost unbearable sense of paradise lost.”

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Vaughan Williams’s Masque was inspired by William Blake’s Illustrations of the Book of Job. The Butts set of watercolours (1805-06) includes The Wrath of Elihu and The Vision of Christ

RALPH VAUGHAN WILLIAMS 1872-1958

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SYNOPSIS

• Scene I. The Introduction depicts Job in quiet contemplation. A Pastoral Dance for his family follows, oboes playing an archaic theme. Satan appears, unforgettably depicted by strong descending octaves and alternating minor and major chords. The heavens open to reveal God; softly rising strings lead to a stately Saraband.

• Scene II. Satan sits on God’s throne; Satan’s Dance is mocking on the xylophone.

• Scene III. A Minuet is interrupted by Satan’s fanfare. Dissonance depicts the destruction of Job’s wealth and the death of his children; the Minuet becomes a funeral march.

• Scene IV. As Job sleeps, Satan stands over him, evoking terrible visions in the Dance of Plague, Pestilence, Famine and Battle.

• Scene V. Messengers bring news of the destruction of Job’s wealth and the deaths of his sons and wives. Job still blesses God.

• Scene VI. In the Dance of Job’s Comforters, three wily hypocrites are sympathetic (depicted by an alto saxophone, a new sound for the composer), but change to anger. Job’s Curse is

depicted by a distorted version of his theme. Heaven opens to reveal Satan on God’s throne, and this climax culminates in a sequence based on the Saraband, with the addition of the organ.

• Scene VII. A solo violin plays Elihu’s Dance of Youth and Beauty, giving way to the more solemn Pavane of the Sons of the Morning.

• Scene VIII. Satan enters to claim victory, but he is driven out of Heaven by the Sons of the Morning, who celebrate in a robust Galliard. In the Altar Dance and Heavenly Pavane, Job worships God with musical instruments.

• Scene IX. In the Epilogue, featuring the same music as Scene I, Job, now an old man, sits with his family again. His benediction brings the work to a serene close.

‘The composer conjures an almost unbearable sense of paradise lost’Vaughan Williams expert Alain Frogley

FABIAN WATKINSONProgramme notes: © the author, 2018

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Below, Job and His Daughters and Job and His Family Restored to Prosperity. Blake returned to the subject of Job in a set of engravings – one of the English artist’s masterpieces – in 1826

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RUSSELL KEABLEARTISTS’ BIOGRAPHIES

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RUSSELL KEABLE is one of the UK’s most exciting musicians, praised as a conductor in both 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.

In more than 30 years with KSO, Keable has established the group as one of the UK’s finest non-professional orchestras. It is known for its ambitious programming of contemporary music, and he has led premières of works by British composers including Robin Holloway, David Matthews, Peter Maxwell Davies, John McCabe, Joby Talbot and John Woolrich.

Keable has received particular praise as a champion of the music of Erich Korngold: the British première of the composer’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 performs with orchestras and choirs throughout the UK, has conducted in Prague and Paris (filmed by British and French television) and has worked with the Royal Oman Symphony Orchestra in Dubai. He has recorded two symphonies by Robert Simpson, and a Beethoven CD was released in New York.

Keable holds the post of director of conducting at the University of Surrey. He trained at the University of Nottingham and King’s College, London University. He studied conducting at London’s Royal College of Music with Norman Del Mar, and later with George Hurst.

Over five years, Keable established an innovative education programme with the Schidlof Quartet. He is a dynamic lecturer and workshop leader, working with audiences ranging from schoolchildren and music students to international business conferences.

Keable is also in demand as a composer and arranger. His opera Burning Waters, commissioned by the Buxton Festival, was premièred in July 2000; he has also composed music for the mime artist Didier Danthois to use in prisons and special-needs schools.

Critically acclaimed conductor Russell Keable has worked with KSO for more than 30 years

RUSSELL KEABLE

Music director

KENSINGTON SYMPHONY ORCHESTRA

NOVEMBER 2018 9

Russell Keable has aired a number of unusual works, as well as delivering significant musical landmarks: the London première of Dvorak’s opera Dimitrij and the British première of Korngold’s Die tote Stadt, the latter praised by the Evening Standard as “a feast of brilliant playing”. In 2004, KSO and the London Oriana Choir performed a revival of Walford Davies’s oratorio Everyman, a recording of which is available on the Dutton label.

Contemporary music continues to be the lifeblood of KSO. Recent programmes have featured works by an impressive roster of composers working today, including Thomas Adès, Charlotte Bray, Brett Dean, Jonny Greenwood, Magnus Lindberg, Rodion Shchedrin, Joby Talbot and John Woolrich.

KENSINGTON SYMPHONY ORCHESTRA, now in its 63rd season, enjoys an enviable reputation as one of the finest non-professional orchestras in the UK. Its founding aim – “to provide students and amateurs with an opportunity to perform concerts at the highest possible level” – remains key to its mission.

KSO has had only two principal conductors: its founder, Leslie Head, and Russell Keable, who has been with the orchestra for more than three decades. The knowledge, passion and dedication of these musicians has shaped KSO, giving the orchestra a distinctive repertoire that sets it apart from other groups.

Revivals and premières of new works often feature in the orchestra’s repertoire, alongside major works of the 19th, 20th and 21st centuries. World and British premières have included music by Bax, Brian, Bruckner, Nielsen, Schoenberg, Sibelius and Verdi.

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The orchestra at Cadogan Hall, one of its regular performance venues, in January 2017

KENSINGTON SYMPHONY ORCHESTRA

Founded in 1956

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‘KSO is a remarkable band… there were many moments to relish’Classical Source

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THE ORCHESTRAARTISTS’ BIOGRAPHIES

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In 2005, Errollyn Wallen’s Spirit Symphony, performed with the BBC Concert Orchestra, won the Radio 3 Listeners’ Award at the British Composer Awards. In 2014, KSO gave the world première of Stephen Montague’s From the Ether, commissioned by St John’s Smith Square to mark its 300th anniversary. During the 2014/15 season, the orchestra was part of Making Music’s Adopt a Composer scheme, collaborating with Seán Doherty on his work Hive Mind.

In April, KSO returned to Westfield London for the orchestra’s 16th “sponsored play” event, raising more than £20,000 for War Child and the Kensington & Chelsea Foundation’s Grenfell Tower Fund. The orchestra also supports the music programme at Pimlico Academy, its primary rehearsal home.

This reflects the orchestra’s long history of charitable activities: KSO’s first concert was given in aid of the Hungarian Relief Fund, and it has developed links with the Kampala Symphony Orchestra and Music School under its KSO2 programme, providing training, fundraising and instruments.

The reputation of the orchestra is reflected in the quality of international artists who appear with KSO. Recent soloists include Nikolai Demidenko, Sir John Tomlinson, Yvonne Howard, Katherine Watson, Matthew Trusler, Fenella Humphreys and Richard Watkins.

The orchestra enjoys working with up-and- coming artists such as Martin James Bartlett, the 2014 BBC Young Musician of the Year, and Young Classical Artists Trust musicians Alexander Ullman and Richard Uttley. KSO also works with a guest conductor each year; recently, these have included Jacques Cohen, Nicholas Collon, Alice Farnham, Andrew Gourlay, Holly Mathieson and Michael Seal.

KSO performs regularly at the Queen Elizabeth Hall, Cadogan Hall and St John’s Smith Square. The orchestra celebrated its 60th anniversary with a gala concert at the Barbican Centre in May 2017.

The orchestra has delivered significant musical landmarks and regularly airs unusual works

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‘A feast of brilliant playing’The Evening Standard

PATRONS Sue and Ron Astles Kate Bonner Sim Canetty-ClarkeCWA International Ltd John and Claire Dovey Bob and Anne Drennan Malcolm and Christine DunmowNick Marchant Jolyon and Claire Maugham David and Mary Ellen McEuenJohn and Elizabeth McNaughton Belinda MurrayMichael and Jan Murray Linda and Jack Pievsky Neil Ritson and family Kim Strauss-Polman Keith Waye

PREMIUM FRIENDS David Baxendale Dr Michele Clement and Dr Stephanie Munn John Dale Alastair Fraser Michael and Caroline Illingworth Maureen Keable Jeremy Marchant Margot RaybouldRichard and Jane Robinson

FRIENDS Anne Baxendale Robert and Hilary Bruce Yvonne and Graeme Burhop George Friend David JonesRufus Rottenberg Jane SheltonPaul SheehanFabian Watkinson Alan Williams

FRIENDS’ SCHEMESUPPORT US

NOVEMBER 2018 11

Join our Friends’ Scheme to receive special benefits

SUPPORT KSO by joining our Friends’ Scheme. There are three levels of membership for the 2018/19 season.

FRIEND £65Unlimited tickets at concessionary rates, priority booking and free interval drinks and concert programmes.

PREMIUM FRIEND £135One free ticket for each concert, unlimited guest tickets at concessionary rates, priority booking and free interval drinks and concert programmes.

PATRON £235Two free tickets for each concert, unlimited guest tickets at concessionary rates, priority booking and free interval drinks and concert programmes.

SEE YOUR NAME listed in our concert programmes as a Friend, Premium Friend or Patron, under single or joint names.

CORPORATE SPONSORSHIPS are available on request for companies and groups, tailored to your needs.

TO JOIN the Friends’ Scheme, contact David Baxendale on 020 8650 0393 or friends@kso.org.uk.

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SPONSOR OR DONATESUPPORT US

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SPONSORSHIP AND DONATIONS Make a difference to KSO

YOU, OUR AUDIENCE, can really help us through sponsorship. Anyone can be a sponsor, and any level of support – from corporate sponsorship of a concert or soloist to individual backing of the orchestra – is enormously valuable to us. We offer a variety of benefits to sponsors, tailored to their needs, such as programme and website advertising, guest tickets and assistance with entertaining.

As a charity, KSO is able to claim Gift Aid on any donations made to the orchestra.

Donating through Gift Aid means that KSO can claim an extra 25p for every £1 you give, at no extra cost to you. Your donations will qualify as long as they are not more than four times what you have paid in tax in that financial year.

TO SPONSOR KSO, or to find out more, call David Baxendale on 020 8650 0393, email sponsorship@kso.org.uk or speak to any member of the orchestra.

TO MAKE A DONATION, or to find out more about Gift Aid, email the treasurer at subs@kso.org.uk.

LEAVING A LEGACY Support the next generation

LEGACIES LEFT to qualifying charities, such as KSO, are exempt from inheritance tax. In addition, if you leave more than 10% of your estate to charity, the tax due on the rest of your estate may be reduced from 40% to 36%.

Legacies can be left for fixed amounts (specific or pecuniary bequests) as either cash or shares, but a common way to ensure that your loved ones are provided for is to make a residuary bequest, in which the remainder of your estate is distributed to one or more charities of your choice after specific bequests to your family and friends have been met.

Legacies, along with conventional donations to KSO’s Endowment Trust, enable us to plan for the next decades of the orchestra’s development.

If you include a bequest to KSO in your will, please tell us that you have done so; we can

then keep you up to date and, if you choose, we can also recognise your support. Any information you give us will be treated in the strictest confidence, and does not form a binding commitment of any kind.

TO LEAVE A LEGACY or to find out more, speak to your solicitor or contact Neil Ritson, the chair of KSO’s Endowment Trust, on 020 7723 5490 or neil.ritson@kso.org.uk.

Support KSO by sponsoring a concert

NOVEMBER 2018 13

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14 KENSINGTON SYMPHONY ORCHESTRA

THE ORCHESTRATONIGHT’S PERFORMERS

FIRST VIOLINAlan TuckwoodHelen HockingsSusan KnightBronwen FisherMatthew HickmanAdrian GordonHelen StanleyFrancoise RobinsonHeather BinghamHelen TurnellErica JealLaura RileyClaire DoveyRobert ChatleySabina Nielsen

SECOND VIOLINDavid Pievsky Danielle DawsonRia HopkinsonRufus RottenbergJuliette BarkerWendy Jeff eryKathleen RuleIvan ChengJill IvesElizabeth BellLiz ErringtonRichard SheahanDavid NagleJudith Ní Bhreasláin

VIOLABeccy Spencer Hattie Rayfi eldGuy RaybouldMeredith EstrenJeremy LambertSam BladeAndrew McPhersonLiz Lavercombe Alison NethsinghaSally RandallJane Spencer-DavisPhil Cooper

CELLONatasha BriantRosi CalleryAlex BreedonAna RamosNicola JacksonDaniel ColdridgeZoe MarshallDavid BaxendaleBecca WalkerEmma ChamberlainYiwen HonJudith Robinson

DOUBLE BASSSteph FlemingAndrew NealSam WiseMarcus Allen

FLUTEChristopher WyattClaire Knighton Emma Brown

PICCOLO Emma Brown

ALTO FLUTE Emma Brown

OBOECharles BrenanLindi Renier Todd

COR ANGLAISChris Astles

CLARINETChris HorrilMike Penny

BASS CLARINETGraham Elliott

ALTO SAXOPHONERob Lawrence

BASSOONNick RampleySheila Wallace

CONTRABASSOONKriskin Allum

FRENCH HORNJon BoswellHeather PawsonAdrian SmithSophie Prett

TRUMPETStephen WillcoxJohn HackettLeanne HamiltonBen Wong

TROMBONEDavid TaineKen McGregor

BASS TROMBONESteve Freeman

TUBANeil Wharmby

TIMPANITommy Pearson

PERCUSSIONTim AldenCatherine HockingsSimon WillcoxBrian FurnerAndrew Barnard

HARP Zita SilvaCatrin Meek

PIANOSiwan Rhys

CELESTE Siwan Rhys

ORGAN Rebecca Taylor

MUSIC DIRECTORRussell Keable

TRUSTEESChris AstlesDavid BaxendaleElizabeth BellJohn DoveyJudith Ní BhreasláinSabina NielsenHeather PawsonNick Rampley

ENDOWMENT TRUSTRobert DrennanGraham ElliottJudith Ní BhreasláinNick RampleyNeil Ritson

EVENTSCatherine AbramsChris AstlesLeanne HamiltonJudith Ní BhreasláinSabina NielsenBeccy Spencer

MEMBERSHIPJuliette BarkerDavid BaxendaleAndrew Neal

MARKETINGJeremy BradshawRia HopkinsonJo JohnsonAndrew NealGuy Raybould

PROGRAMMESRia Hopkinson

WOODWIND COACHPete Harrison

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63RD SEASON2018/19

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PHOTO: © SIM CANETTY-CLARKE