Resident Orchestra of Fairfield Halls, Croydon

Saturday 19 May 2012

Fairfield Halls, Croydon7.30 pm

Gérard Korsten ConductorBenjamin Schmid Violin

EBERLSymphony in C

HARTMANNConcerto Funèbre

INTERVAL

SCHUBERTRondo in A for violin and strings, D438

BEETHOVENSymphony No. 7 in A, Op. 92

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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 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 is particularly known 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, and Fraser Trainer. In March 2011 the LMP appointed Roxanna Panufnik as Associate Composer.

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 hall and 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 has strong relationships with other major UK venues, including Turner Sims Concert Hall, Southampton. Overseas, the LMP has visited Spain, Belgium and France and, most recently, Germany.

The 2011/12 season marks the second year 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. The season sees the orchestra continuing to work with established artists including Howard Shelley and Tasmin Little, whilst building new relationships with bright new stars including Maximilian Hornung, Cordelia Williams and Nicholas Collon. The LMP’s new association with Korsten also sees the introduction of some of the best European soloists to our 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 has an association with the South Holland district in Lincolnshire that brings the orchestra into the heart of the Fenland communities. Projects here currently include South Holland Symphony, a new orchestral piece inspired by the local landscape, being created in a series of workshops for local participants that will be showcased by the LMP in July 2012. 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. Recent projects include ‘Side-by-side in Shepshed’ that saw composer and animateur Fraser Trainer and seven schools in Leicestershire build a new youth orchestra for the area and perform alongside the LMP in a family concert. In Croydon, a recent START project included children from primary and special needs schools working together to perform at the LMP’s annual Schools’ Concert in Fairfield Halls. Other ongoing ventures include visiting care homes and concert demonstrations in primary and secondary schools.

The LMP receives project funding from Arts Council England, Orchestras Live and South Holland District Council. 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.

Full details of forthcoming concerts and more information on the orchestra’s activities are available on the LMP website: www.lmp.org

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LONDON MOZART PLAYERS

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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.

Please contact Sue McCrossan, LMP Development Manager, for more information T: 020 8686 1996, E: sue@lmp.org

1st Violins Marieke BlankestijnNicoline KraamwinkelTakana Funatsu(Chair supported by David & Beatrix Hodgson)Ann Criscuolo Martin Smith(Chair supported by Debby Guthrie)Catherine Van de Geest Anna de Bruin Alex Afia

2nd ViolinsDavid AngelAndrew Roberts(Chair supported by Noël & Caroline Annesley)Jeremy MetcalfeJayne SpencerStephen RouseNicola Gleed

ViolasCian O’DuillMichael Posner(Chair supported by Anonymous) Mathew QuenbyChain Lim(Chair supported by Caroline Molloy & Andrew Lay)

CellosSebastian CombertiJulia Desbruslais Aoife Nic AthlaoichRachel van der Tang(Chair supported by Anonymous)

Basses Stacey Watton(Chair supported byLouise Honeyman)Tim Amhurst

FlutesAnna Wolstenholme(Chair supported by Brian & Doreen Hitching)Nicolas Bricht(Chair supported by Barbara Tower)

Oboes Gareth Hulse(Chair supported byPat Sandry)Katie Clemmow

ClarinetsAngela Malsbury(Chair supported by Stuart & Joyce Aston)Margaret Archibald(Chair supported byChristopher Fildes)

BassoonsSarah Burnett(Chair supported by Alec Botton)Shelly Organ

HornsChristopher NewportMartin Grainger

TrumpetsPaul ArchibaldPeter Wright

TimpaniDominic Hackett

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GÉRARD KORSTEN Conductor

© M

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Born in South Africa, Gérard Korsten began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and with Sándor Végh in Salzburg. Following his studies in the US and Europe he became Concertmaster and Assistant Music Director of the Camerata Salzburg and later Concertmaster of the Chamber Orchestra of Europe from 1987-1996, after which he left the COE to concentrate on conducting.

He held positions of Principal Conductor of the State Theatre in Pretoria and the Uppsala Chamber Orchestra before he was appointed Music Director of the Orchestra del Teatro Lirico di Cagliari from 1999-2005. In Cagliari he conducted the first Italian performances of Richard Strauss’s Die ägyptische Helena, Weber’s Euryanthe, Delius’s A Village Romeo and Juliet and Schubert’s Alfonso und Estrella, as well as the productions of the core operatic repertoire including Die Zauberflöte, Don Giovanni, Lucia di Lammermoor, Carmen, Die Fledermaus, Tosca, Aïda, The Barber of Seville and Don Pasquale.

Since then Gérard Korsten has appeared in most notable opera houses and concert halls around Europe including Teatro La Scala Milan (Le nozze di Figaro), Maggio Musicale Florence (Così fan tutte), Teatro Reggio di Parma (La sonnambula), Teatro Lirico Verdi Trieste (Don Pasquale and La fille du régiment), Opéra de Lyon (Ariadne auf Naxos, Henze’s L’Upupa und der Triumph der Sohnesliebe, Siegfried and La traviata), Royal Swedish Opera (Don Giovanni), Netherlands Opera (Così fan tutte), English National Opera (Aïda) and Glyndebourne Festival Opera (Albert Herring). He returns next season to conduct Offenbach’s La Vie Parisienne for Opéra National de Lyon.

His past orchestral engagements have included concerts with the Budapest Festival Orchestra, Salzburg Mozarteum, Orchestra Sinfonica Nazionale della Rai Turin, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Deutsche Kammerphilharmonie, Swedish Radio Symphony, Yomiuri Nippon and Melbourne Symphony orchestras. His recordings include Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon, Die ägyptische Helena, Euryanthe and Alfonso und Estrella with Orchestra del Teatro Lirico di Cagliari on CD and DVD with Dynamic, as well as a DVD recording of Don Pasquale released on TDK.

Highlights of recent and forthcoming engagements include concerts with the Academy of St Martin in the Fields at the Beijing Festival, Bamberg Symphony, Leipzig Gewandhaus, SWR Sinfonieorchester Baden Baden und Freiburg, Hong Kong Philharmonic, Orchestre National de Lyon and the BBC Scottish Symphony Orchestra. The 2011/12 season sees him touring to eight venues in the US with the Irish Chamber Orchestra, returning to the Budapest Festival Orchestra, Latvia National Symphony and Camerata Salzburg in both Vienna and Salzburg.

Gérard Korsten is also Principal Conductor of the Symphonieorchester Vorarlberg Bregenz.

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BENJAMIN SCHMID Violin

Benjamin Schmid, originally from Vienna, won the Carl-Flesch competitions in 1992 in London, where he was also awarded the Mozart, Beethoven and audience prizes. Since that time he has performed at leading venues all over the world with famous orchestras such as the Vienna Philharmonic, Philharmonia, Petersburg Philharmonic, the Amsterdam Concertgebouw and the Tonhalle Orchestra Zürich, and directed by conductors such as Christoph von Dohnányi, Valery Gergiev, David Zinman, Seiji Ozawa and Ingo Metzmacher. His quality as a soloist, the exceptional spectrum of his repertoire – besides traditional works, the violin concerti of Hartmann, Gulda, Korngold, Muthspiel, Szymanowski, Weill, Lutoslawski and Schönberg, for example – and in particular his improvisational ability in jazz, make him a violinist of incomparable profile.

Benjamin Schmid’s CDs, around forty in number, have been awarded the Deutsche Schallplattenpreis, the Echo Klassik music prize, Gramophone Editor’s Choice, and the Strad Selection, amongst others. He plays a 1731 Stradivarius violin, is a lecturer at the Mozarteum in Salzburg and gives master classes at The Academy in Bern.

Several films have been made about Benjamin Schmid which have captured the outstanding artistic character of the violinist in worldwide TV broadcasts. In 2006 Benjamin Schmid received the Internationalen Preis für Kunst und Kultur (International Prize for Arts & Culture) in his home town of Salzburg, where he lives with his wife, the pianist Ariane Haering, and their four children.

In June 2011 Benjamin Schmid accepted a repeated invitation from the Vienna Philharmonic Orchestra, with a Paganini/Kreisler violin concerto, at the open air concert ‘Sommernachtskonzert’, which, like the New Year’s Concert, was broadcast live on TV and is available on DVD and CD on Deutsche Grammophon.

The highlights of 2012 will be a Fritz Kreisler anniversary programme (commemorating the 50th anniversary of his death), concerts with the Rotterdam Philharmonic Orchestra, the Copenhagen Radio Philharmonic Orchestra, a tour of Japan with the Vienna Radio Symphony Orchestra, guest performances in Asia with the Malaysia Philharmonic Orchestra, the Taipei Symphony Orchestra, a tour of Australia with the Australian Chamber Orchestra, and both the Brahms and Britten violin concerti with the WDR Symphony Orchestra directed by Jukka-Pekka Saraste. He will tour with the Rheinische Philharmonie State Orchestra, be guest performancer at the Kölner Philharmonie (with Martin Grubinger and Clemens Hagen), and record with the Helsinki Radio Philharmonic conducted by Hannu Lintu. Benjamin will also perform concerts with the Camerata Salzburg and the Salzburg Mozarteum Orchestra at the Salzburg Festival and the Haydn Festival in Eisenstadt, Brahms and Schumann concerts at the Carinthian Summer Music Festival, and chamber music at the Concertgebouw with Pieter Wispelwey.

Benjamin Schmid will sign copies of his new CD in the foyer during the interval

© Julia W

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Symphony in C

I Allegro con brioII Andante graziosoIII Allegro assai

The story of the Symphony in C starts in 1944, when Nino Negrotti published a three-movement symphony in C major under Mozart's name, based on the manuscript parts material from the Pia Istituzione Musicale in Cremona, Italy, where it is attributed to Mozart. The parts originated from a collection that went back to the 18th Century Accademia Filarmonica of Cremona. Negrotti believed the symphony could have originated in Cremona when Mozart and his father stopped there in January 1770 on their way to Milan.

In 1956, musicologist H.C. Robbins Landon went to the (then new) Union Thematic Catalogue of 18th Century Symphonies and found that the symphony was composed by Anton Eberl (1766–1807), dated February 24, 1785 and an autograph score existed in the Vienna Gesellschaft der Musikfreunde. Landon also reported that some of Eberl's other early compositions were attributed to Mozart. He explained that the symphony could have been attributed to Mozart as there is also a copy of this work in the Conservatorio Luigi Cherubini in Florence where Franz Christoph Neubauer (1760–1795) had been mistakenly listed as the author at one time.

In 1983, author Stephen C. Fischer explored the symphony further, discounting Mozart's authorship over stylistic grounds, even though the piece was attributed to Mozart because of the similarity to the Haffner Symphony. Using evidence documented by Austrian librarian Aloys Fuchs (1799–1853), Fischer concluded that of three symphonies of Eberl's in the Vienna Gesellschaft der Musikfreunde, the title page of the C major symphony is missing, but handwriting and format of the composition is analogous with the other two – on the title page of the D-major and G-major symphonies is written 'Del Sigre. Antonio Eberl' in the composer's hand.

Fischer concluded "Eberl can unequivocally be secured as author of the two disputed symphonies... The C major symphony showed clearly that Eberl in 1785 fell under Mozart's spell...".

Eberl was born in Vienna and his early style was very Mozartian – at least 5 of his early piano works have Mozart attributions. Although widely thought to have been a pupil of Mozart, there is no direct evidence they ever met – only after Mozart's death Eberl appears on the 'Mozart scene'. In the weeks after Mozart's death he composed the Cantata Bey Mozarts Grab (By Mozart’s Grave) performed in a benefit for Constanze Mozart in December 1794, and undertook a concert tour with Constanze Mozart and Aloysia Lange the following year. The Berlin Musical Journal wrote in 1805, after a performance of Eberl’s new symphony, "Since the symphonies of Mozart, Haydn and Beethoven, nothing but this symphony has been written which could be placed alongside theirs". Eberl's Symphony in E flat major was premièred at the same concert as Beethoven's Eroica Symphony on 7 April 1805, receiving far more positive reviews than Beethoven's. When Eberl died, at the age of 41, the Allgemeine musikalische Zeitung remarked that "the early death of an artist had seldom been so generally regretted as his".

The Symphony in C bears many of the hallmarks of what we expect from Mozart. The Allegro con brio encapsulates a playful charm, opening with a grand fanfare, after which energetic sequences from the strings and spritely fugal phrases appear across the orchestra. In a stark contrast, the Andante grazioso captivates the softer side to Eberl’s compositional style, introducing a lulling melody of Mozartean lyricism with exquisite colorful dynamics. The Allegro assai returns to the frenetic nature of the first movement, in which a cascade of melodic sequences prepare for the final ascent, closing the symphony on an impassioned tonic chord.

© Chloë Brookes

ANTON EBERL(1765–1807)

Anton Eberl

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Concerto Funèbre

I Introduction. LargoII AdagioIII Allegro di moltoIV Choral: Langsamer Marsch

The flourishing cultural life and modern politics of the Weimar Republic would be cut short in the face of the rise to power of Hitler’s Nazi Party in 1933. Many Anti-Fascist composers went into exile, including Kurt Weill and Hanns Eisler, who both escaped to the United States. Others ended up in prison or worse; Erwin Schulhoff, who displayed notable promise, died in a concentration camp. Ten years younger than the Munich-born Carl Orff, who worked publicly in Germany throughout the Nazi era, Anti-Fascist composer Karl Amadeus Hartmann was another composer who remained in the fatherland during the Second World War, but was forced to write secretly in the progressive manner expected of a pupil of Anton Webern. His struggle for survival depended on turning away from any pursuit of public performance or personal expression. He kept his music hidden and destroyed the rest, but, as Hartmann himself wrote, "No artist, unless wishing himself written off to nihilism, can sidestep his commitment to humanity".

Hartmann was deeply affected by the scenes he witnessed during 1939 – the marching of Jewish prisoners past his home en route Dachau concentration camp just ten miles north of Munich. The personal devastation of this is echoed through much of his life’s work. He would write the Concerto Funèbre later in 1939, as he put it, as a lament for the state of Europe. As with his earlier piece Miserae, the Concerto Funèbre delivers a powerful anti-Nazi message, laying open Hartmann’s despair and protest over the occupation of Czechoslovakia along with his deeply-held hope that 'light in the end must follow darkness'. It was smuggled to St Gallen, Switzerland for its premiere performance on 29 February 1940, performed by the St Gallen Chamber Orchestra, and attended by Hartmann.

The music, lasting about twenty minutes, opens with a short chorale quoting the Hussite chorale Ye Who Are God’s Warriors which originates from the 15th-century Bohemian song of resistance to the Roman Catholic Church, and famously employed by Smetana in his patriotic cycle of symphonic poems Má Vlast (My Homeland). The four-movement structure, said Hartmann, was designed to reflect the "intellectual and spiritual hopelessness of the period, contrasted with an expression of hope in the two chorales in the beginning and at the end".

The desolate Adagio leaves the solo violin alone in bleak isolation, before ultimately fading into the work’s one quick movement – a Bartókian flurry of notes and pounding rhythms that brings the work to a climax. The final funeral march, or elegy, with its chorale-like atmosphere, is directly based on a popular German song Unsterbliche Opfer (Immortal Victims). This song of death continues until truncated by the orchestra’s stern final chord, reflecting a statement Hartmann made about another Nazi-era piece – "If you show the world its reflection so that it recognizes its horrible face, it might change its mind one day. In spite of all the political thunderclouds I do believe in a better future".

Originally entitled Musik der Trauer (Music of Mourning), the Concerto Funèbre was re-titled in 1959 after minor revisions. Hartmann's immersion into the progressive post-war musical scene is reflected in his subsequent eight symphonies. The second, completed in 1946, is a substantial Mahler inspired adagio, and the fifth, from 1950, pays homage to Stravinsky by quoting the opening bassoon solo from The Rite of Spring.

© Chloë Brookes

KARL AMADEUS HARTMANN(1905–1963)

INTERVAL

Rondo in A for violin and strings, D438

Adagio — Allegro giusto

Franz Schubert was the fourth surviving child of 14 born to his mother. His musical abilities were fostered as a chorister in the Imperial Chapel, a position that brought with it the chance of a decent education at the Staatskonvikt and also an association with the old Court Kapellmeister Antonio Salieri, whose influence on him was considerable. In 1812 his voice broke, but this need not have ended his schooling. Faced, however, with a choice between music and academic study he chose to leave, and in 1814 entered a school for the training of teachers, beginning work as an assistant to Franz Theodor in 1815. During his brief life Schubert enjoyed the friendship of a circle of young poets, artists and musicians, many of them dependent on other employment for a living. He never held any official position in the musical establishment, nor was he a virtuoso performer, as Mozart and Beethoven had been.

The Rondo in A dates from 1816, which was a significant year in Schubert’s life. In the autumn, he finally left his much-loathed teaching post and moved in with his close friend Franz Schober. Away from his overcrowded and repressive family home, sharing accommodation with a charismatic young man whose experience of life was far wider than his own, and in a vastly improved frame of mind, Schubert began to pour forth new compositions. Sadly, Schubert failed to write a full-scale violin concerto, and we are left with a Concertstück, a Polonaise, and this Rondo which, but for the differences in key (D, B flat and A, respectively) might yet have been assembled by an arranger as concertos of sorts.

The work boasts an extended Adagio introduction, followed by a Allegro giusto, its recurring theme the soul of happiness. A contrasting theme, heard almost immediately, is of a more pensive nature. The latter theme returns towards the close before the final statement of the Rondo theme and an exciting coda.

In this beautifully crafted movement the modest-sized orchestra supports discreetly, but it is really the soloist’s show all the way. Primarily a pianist, Schubert learnt the violin when young, so his short violin works may have been written for himself. Like much of Schubert’s music, it gathered much dust, achieving publication only 81 years after its composition.

It would be nearly a century before the full scope of Schubert’s genius would come to be appreciated, a fact which was not lost on the great writer George Eliot, who reflected with typical perspicacity:

Schubert too wrote for silence: half his work Lay like a frozen Rhine till summer came And warmed the grass above him. Even so His music lives now with a mighty youth

© Elizabeth Boulton

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FRANZ SCHUBERT (1797–1828)

Symphony No. 7 in A, Op. 92

I Poco sostenuto – VivaceII AllegrettoIII Scherzo: PrestoIV Allegro con brio

Beethoven's Seventh Symphony dates from 1812, and was first performed a year later, apparently very successfully. Beethoven was 42 when he composed this piece, and in many ways it represents the height of his middle period works – the period of his compositional life during which he expanded and developed Classical forms towards the music of Romanticism. Of Beethoven's nine symphonies, the Seventh is the most rhythmically dynamic, and it is no wonder that Wagner called it "the apotheosis of the dance".

Outwardly, the symphony is conventional in form, with its four movements fitting into the expected patterns of a 'Classical' symphony: opening fast movement (with slow introduction); contrasting, more gently-paced second movement; lively Scherzo; and very rapid finale. It is what Beethoven does within this structure that is so remarkable, stretching the boundaries and challenging the conventions. This is apparent immediately, with the breadth and weight of the slow introduction – more than simply a prelude, it is virtually a movement in itself. It eventually leads into a Vivace notable for its almost obsessive use of the opening rhythmic motives, which in other hands could have become monotonous, but in Beethoven's is exciting and dramatic.

The second movement is an Allegretto rather than the more usual, and slower, Adagio. It is the only extended part of the work in a minor key, and its character is melancholy, rather than tragic – it is a curious, rather relentless slow march. Each repetition of the main theme is orchestrated differently, with intricate part-writing, and the way the theme emerges from its hushed beginning is breathtaking.

The Scherzo is in the relatively remote key of F major, and again Beethoven is content to concentrate on one rhythmic idea in the Scherzo and the contrasting trio section – which, unusually, is repeated in full after the second appearance of the Scherzo. The variety in this movement comes mainly from the bold juxtaposition of passages featuring the strings and wind in turn. The Allegro con brio finale, back in the home key of A major, is a real tour de force, high-powered and intensely driven, building through the coda to an overwhelming and remarkably powerful conclusion.

© Ian Lush

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LUDWIG VAN BEETHOVEN (1770–1827)

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BenjaminSchmidKreisler/Paganini: Concerto in one movementBenjamin Schmid Wiener Philharmoniker Valery Gergiev

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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 Fairfield Halls concerts and advance booking.

• Access to private Friends’ bar before the concert and during the interval with discounted drinks at Fairfield Halls concerts.

• 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 Fairfield Halls 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 info@lmp.org or visit www.lmp.org

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BenjaminSchmidKreisler/Paganini: Concerto in one movementBenjamin Schmid Wiener Philharmoniker Valery Gergiev

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Making a gift in your will

Making a legacy gift to the LMP is a great way to ensure that future generations of audiences can continue to be inspired by the orchestra that has inspired you. If you have a will or are making one, this would be a good way to make a lasting provision for the future of the orchestra and because the LMP is a registered charity, your donation to us can help reduce your tax liability. If you have already remembered LMP in your will, we are very grateful. If you would like to, do please let us know (in strictest confidence). We would value the opportunity to thank you and to keep you more closely involved with our work.

If you would like more information about any of these ways of supporting us, please contact Sue McCrossan, Development Manager, London Mozart PlayersT: 020 8686 1996 or email sue@lmp.org

Conductors’ CircleOur most generous Benefactors belong to this exclusive group. Members of the Conductors’ Circle are closely involved with the musicians and management team and play a significant role in the life of the LMP. In addition to the opportunities enjoyed by all Benefactors, members of the Conductors’ Circle are invited to a sumptuous dinner hosted by the orchestra’s Patron, HRH The Earl of Wessex KG GCVO.

Benefactors From world-class concerts to inspiring education projects, none of the LMP’s work would be possible without the financial support we receive from our Benefactors. Our Benefactors are musical patrons, following in the footsteps of those generous, passionate and committed philanthropists who, throughout the centuries, have enabled great musicians to perform and compose.

Benefactors make an annual donation of £1000 and above and enjoy a unique programme of events, including access to rehearsals, exclusive recitals, gala concerts and special receptions throughout the year. Start your own creative partnership and become a Benefactor.

There are lots of ways for you to get involved with the LMP and ensure the oldest chamber orchestra in the UK has a bright future. Play your part today.

SupportersOur Supporters are the building blocks of our success. Make a donation today and help the orchestra you love thrive into the future. You’ll receive our newsletter to keep you up to date with all the LMP’s activities and be credited for your support in our concert programmes.

Every donation, large or small, is important to us and will make a difference. Bronze Supporters make donations of up to £50, Silver Supporters make donations of £50 and above, and Gold Supporters make donations of £100 and above.

PLAY YOUR PART

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PatronHRH The Earl of Wessex KG GCVO

Principal FunderLondon Borough of Croydon

Public FundersOrchestras LiveRoyal Borough of Kingston Upon ThamesSouth Holland District Council

Trusts and foundationsThe John Coates Charitable TrustThe Concertina Charitable TrustCroydon Relief in Need CharitiesThe Foyle FoundationThe Matthew Hodder Charitable TrustThe Austin and Hope Pilkington TrustThe Prince’s Foundation for Children & the ArtsThe Sackler TrustN. Smith Charitable SettlementThe H.R Taylor Charitable TrustThe Steel Charitable Trust

corporate sponsorM & G Investments

corporate friendsCantateElite HotelsSimmons & Simmons

conductors’ circleAnonymous x 6Daniel & Alison BentonKate Bingham The Ross Goobey Charitable TrustJeremy & Denise LewisAnthony Record MBE & Carole Turner-RecordJeffrey & Rosamund West

benefactorsAnonymous x 6Graham HarmanAndré & Rosalie HoffmannGillian PerkinsSir Roger and Lady SandsMr & the late Mrs K SmithPeter & Sheelagh SmithMr D & Mrs M Wechsler

life friendsMichael & Barbara Hill

golden supportersAnonymous x 45Morag BeierMr & Mrs M C BushellMr & Mrs C ClementiMr & Mrs P A ElliottMr Quintin GardnerGeoff & Mary HearnBrian & Doreen HitchingAntony JacubsMargaret Jones MVOMr & Mrs A J LambellDerek & Deirdre LeaJeanne & Gordon LeesDerek & Bunty MillardMiss Gillian NobleHazel & Geoffrey OttonJohn & Ros RawlingRobert Keith RobertsonDavid RobinsonChristine RobsonMiss A E StoddartJean-Anne and John TillotsonSir John WickersonMichael Woodhouse CVO

silver supportersAnonymous x 32Irene & Leslie AaronsJean & Gordon AdamsJoyce & Stuart AstonMr M P BlackPeter BrentMrs Patricia CoeMichael & Janet ConsidineNick CullMrs E A DudleyThe Revd Canon Martin & Mrs Mary GoodladMr I A HamlynMr & Mrs F HercliffeDavid & Beatrix HodgsonNick & Jane MallettMr Harold MartinPaul Ribbins Mr & Mrs M RiversMr Brian J StockerMrs Marion SunleyGeorge SutherlandMr & Mrs J TillotsonJohn WilliamsMr B E & Mrs P B Woolnough

bronze supportersAnonymous x 44Mr George BrayAlec BottenMrs Sandra & Mr David CottonChantal KeastMrs J.M.P MarlowMr & Mrs C McCarthyMr Denis ProtheroeMrs N Roberts

SUPPORTING THE LMPThe LMP would like to thank its supporters

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The mission of the LMP is to share the discovery, excitement and pleasure of live orchestral music with the greatest number of people. LMP Interactive encompasses all the work the orchestra does off-stage, bringing live music to people of all ages, needs and backgrounds.

The aim of LMP Interactive is to take a holistic approach to our work on and off the concert platform. By working in partnership with venues and other arts professionals, we intend to include an LMP Interactive event – be it a composition workshop or a community concert in a nearby care home – wherever the LMP performs.

CURRENT PROJECTS AND RECENT HIGHLIGHTS

'Side By Side in Shepshed'Led by composer/animateur Fraser Trainer, this project worked with seven primary schools (around 90 children) in Shepshed, Leicestershire, to help them build a new youth orchestra for the area. For one week, Fraser and LMP musicians worked with the children, split into three groups, to write their own piece of music.

At the end of the week, at an LMP Family Music Concert, all the young people played their pieces as part of the concert, and then joined in with the whole LMP for Fraser’s arrangement of In the Hall of the Mountain King for a grand finale. It was a huge success, and proved a great way of getting everyone to play together and to inspire the young musicians with what it feels like to be part of a big orchestra.

START Project Following the huge success of the LMP’s START project in early 2011, a second year of the project took place in 2012.

Working with five primary schools and a special school in Croydon, it began with the children attending a schools’ concert by the LMP at Fairfield Halls in March, followed by workshops with LMP musicians, led by Adam MacKenzie, to create their own compositions. These were performed by the children and LMP musicians in the foyer of Croydon's Fairfield Halls before the LMP concert on 26 April, showing what they have learnt and inspiring them to learn and create more music.

Music NationLMPʼs contribution to the recent BBC Music Nation weekend for the Cultural Olympiadʼs London 2012 Festival gave a unique opportunity to local school children to participate in some inspiring music-making.

The culmination of a four-day residency in two Croydon primary schools featured a concert by 120 young people at the start of March 2012.

Four World Seasons, a brand new work by LMP Associate Composer Roxanna Panufnik inspired by Vivaldi and Piazzolla's Four Seasons offered the perfect platform from which to explore and showcase the cultural diversity of South London and make connections to the rest of the world. The children created their own musical responses to the seasons in workshops led by North Indian musician Kartik, Roxanna Panufnik and LMP musicians during the weeks before the première of Four World Seasons. The children performed the music they created in these workshops, a piece they called World in our City, in the performance space at Fairfield Hallsʼ foyer.

This project built on existing partnerships and helped establish new relationships through the sharing of high quality music-making with the local community.

LMP INTERACTIVE

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PatronHRH The Earl of Wessex KG GCVO

Music DirectorGérard Korsten

Associate ConductorHilary Davan Wetton

Associate Composer Roxanna Panufnik

Council of Management

ChairmanRowan Freeland

Chair of the Audit CommitteeRosamund Sykes

Daniel BentonDan DaviesSimon FunnellGillian PerkinsPeter Van de GeestDavid WechslerMalcolm Wicks MP

Administration

Managing DirectorSimon Funnell

General ManagerDavid Wilson

Concerts & Projects ManagerCaroline Molloy

Development ManagerSue McCrossan

Marketing & PR ManagerChloë Brookes

Orchestral LibrarianMartin Sargeson

financial consultantChristopher Wright

InternEmily Mould

London Mozart PlayersFairfield HallsPark LaneCroydonCR9 1DG

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LMP MANAGEMENT

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FORTHCOMING CONCERT

Tuesday 12 June 7.30pmSt John's Smith Square, London

MOZART Mass in C major, K 317 CoronationWESLEY Thou wilt keep him in perfect peaceHANDEL Zadok the PriestPARRY I Was GladMOZART Sonata for organ and orchestra No. 14 in C

Conductor Hilary Davan WettonOrgan Mark WilliamsCity of London Choir

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