57th SEASON

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 St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments.

Box office tel: 020 7222 1061. Website: www.sjss.org.uk. St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678.

Russell Keable conductorAlan Tuckwood leader

Lyadov Eight Russian Folksongs

Matthew Taylor Storr (London première)

Interval – 20 minutes

Dvořák Symphony No. 7

Monday 24 June 2013, 7.30pm St John’s Smith Square

Cover: (The Old Man of) Storr on the Isle of Skye

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TONIGHT’S PROGRAMME

Eight Russian Folksongs

1. Religious Chant. Moderato2. Christmas Carol “Kolyada”. Allegretto3. Plaintive Song. Andante4. Humorous Song “I Danced With The Gnat”. Allegretto5. Legend Of The Birds. Allegretto6. Cradle Song. Moderato7. Round Dance. Allegro8. Village Dance Song. Vivo

If Lyadov is remembered at all now, it is generally as the composer who failed to come up with the goods for Diaghilev, thus paving the way for a young upstart called Igor Stravinsky to make his name. This is rather unfair. Although Diaghilev certainly considered Lyadov for the job, there is little evidence that he got as far as asking him about it, and none that Lyadov ever received such an offer. A good story often wins out against facts, however, and so Lyadov’s place in history remains as the composer too lazy to write The Firebird.

Nevertheless, it remains true that Lyadov never managed to complete any of the larger scale works that he began. It all began so brightly for him. He was born into a musical family: his father was a conductor at the Mariinsky Theatre. He entered the St Petersburg Conservatory in 1870 aged only 14, initially to study piano and violin, but soon joining Rimsky-Korsakov’s composition class. Unfortunately his appalling attendance record at lectures led to his expulsion in 1876, although he did manage to secure re-admittance two years later in time to graduate. Thereafter he held a number of teaching posts at the Conservatory, and was considered a talented pianist and conductor, as well as a sympathetic teacher.

If he had indeed inherited a family trait of lack of concentration and slack approach to work, his meagre output is at least as much due to an intense self-criticism and lack of confidence in his own ability. His great strength was as a miniaturist, evident in his piano pieces and orchestral tone poems. In the late 1890s he developed a growing preoccupation with Russian folksong, and eventually published several volumes of tunes that he had collected for the Imperial Geographical Society. Some of these he arranged for orchestra, and this suite of eight finely-crafted miniatures was completed in 1906.

© 2013 Peter Nagle

ANATOLY LYADOV 1855–1914

Anatoly Lyadov

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TONIGHT’S PROGRAMME

MATTHEW TAYLOR b. 1964

Storr

“The Old Man of Storr” (or “Storr”) is a collection of rock formations which lie high on the Trotternish peninsula on the Isle of Skye. It is one of the most impressive and best-loved sights on the island, noted particularly for its highly distinctive craggy outcrops, appearing like jagged, giant teeth protruding from the ground. But equally spectacular is the massive expanse of barren terrain just below these cliffs known as “The Sanctuary”.

I was so struck by the beauty, majesty and grandeur of Storr after my first ascent that I felt compelled to compose a symphonic poem on the subject, even if the precise character, scoring and overall architecture of the piece still remained unclear at this early stage. When my old friend Tom Hammond approached me with the idea of commissioning a new work for the Essex Symphony Orchestra he suggested a piece which might provide a parallel, in a general sense, with two other works which conjure specific landscapes, The “Needles” Overture and “Blasket Dances”. The choice of “Storr” seemed obvious.

The work is cast in four continuous sections and lasts about 13 minutes. The opening is slow and spacious but becomes increasingly reflective and lyrical as it continues, suggesting the first impressions of Storr in the midst of ever-changing cloud formations seen from a distance and at ground level. It leads directly into a second fast section which evokes a steep ascent through forestry with sudden flickers of sunlight and occasional glimpses of bright sky. The texture of the music is very light and transparent but nonetheless highly charged and active, perhaps resembling something of the mood of a Mendelssohn scherzo. Eventually a climax is reached which marks the opening of the third part. There is a more deliberate, striding momentum here conveying large open spaces on a plateau which soon relaxes into an extended flute solo—distant bird song. The final section, another ascent, takes the form of a vigorous fugue introduced by cellos. This last climb is perhaps the most strenuous part of the journey, but there is nonetheless a great sense of expectancy as the summit of Storr is now very close, even if we are more fully exposed to the elements. But we are rewarded with magnificent vistas when reaching the peak where the music culminates on a huge string chord stretching over many octaves clearly outlining the tonal centre of E.

Storr was commissioned by the Essex Symphony Orchestra with funds provided by the PRS Foundation and The Britten Pears Foundation, composed between March and August 2011 and first performed conducted by Tom Hammond in Christchurch, Chelmsford, Essex on Saturday 3 March 2012. It is dedicated to Charles and Jo Warden, my wife’s parents who were the first to introduce me to the glories of Skye. The performance tonight is the London première.

© 2013 Matthew Taylor

Matthew Taylor

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TONIGHT’S PROGRAMME

Symphony No. 7 in D minor

1. Allegro maestoso2. Poco adagio3. Scherzo: Vivace —Poco meno mosso4. Finale: Allegro

Older readers may just be able to recall a time when there were London evening newspapers other than the Evening Standard. Unless there are any Methuselahs present tonight, however, it is unlikely any would remember the Pall Mall Gazette. The Gazette was founded in 1865, and became successful enough that it absorbed a lesser paper, the Globe, in 1921 before being itself merged with a rival in 1923—ironically enough, the Standard. It took its name from the fictional newspaper in Thackeray’s The History of Pendennis, and over its lifetime printed the work of many notable writers. In turn it became referenced itself in fiction, appearing in Sherlock Holmes, Dracula and The Time Machine.

One scoop the newspaper secured in 1886 was an interview with Antonín Dvořák, who was in England for the first performance of his oratorio St Ludmilla. In it Dvořák talked of his upbringing and his approach to composition. Asked by the (anonymous) interviewer what he thought of the English, then widely considered to be an utterly unmusical species, Dvořák replied, “So far as my experience of English audiences goes I can only say that people who had not a good deal of love for music in them would hardly sit for four hours closely following an oratorio from beginning to end, and evidently enjoy doing it. As to their being good musicians, I judge them by the orchestras who have played my compositions under my own direction, and it has struck me every time. With regard to music it is with the English as it is with the Slavs in politics—they are young, very young, but there is great hope for the future.”

Perhaps here Dvořák had found a reason for the extraordinary enthusiasm for his music in England. Since his Stabat Mater had been performed there in 1883 there had been an explosion of interest in his works. Following the similarly sudden success of his Slavonic Dances in 1878, this firmly established Dvořák as an international figure.

The road to this success had been a long one. As he related in his interview with the Gazette, Dvořák came from humble beginnings: his father was a butcher and innkeeper (“which two occupations generally go together with us in Bohemia”). When he was 10 he was sent to the village of Zlonice to be educated at a German-speaking school, as was the custom for Czechs in the Austrian Empire. At the same time he began to teach himself the violin. In Zlonice he was given rudimentary music lessons, enough to enable him to play his fiddle with street musicians when he returned home for the holidays. His parents were supportive of his musical ambitions, and despite their poverty managed to arrange for him to attend the Organ School in Prague.

ANTONÍN DVORÁK 1841–1904

Antonín Dvorák

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When he finished his studies in 1859, Dvořák began a decade of graft as a musician in dance bands and pit orchestras in Prague.

By 1874 Dvořák was married and settled in the post of organist at the church of St Vojtech. He applied for the Austrian State Stipendum, a grant given to artists. He was awarded grants for four years running, but more importantly made the acquaintance of Johannes Brahms, who was one of the judges. Brahms wrote to the publisher Simrock recommending Dvořák as a publishing prospect. With the approval of Brahms (who soon became a close friend) and the imprint of Simrock behind him, Dvořák’s stock rocketed, and in 1884 the butcher’s son was on his way to England. He was made an honorary member of the Royal Philharmonic Society, which also commissioned him to write a new symphony, his seventh.

His seventh to be composed, perhaps, but it was not known as such during his lifetime. Although four of his previous six symphonies had been performed, Simrock had published only one, the sixth, as “Symphony No. 1”. When he took the new symphony on, therefore, Simrock numbered it as Dvořák’s Second (and subsequently issued the fifth as “No. 3”). Simrock nearly did not publish the symphony at all, after he and Dvořák fell out over the difference between the fee Simrock was prepared to pay and the fee Dvořák felt he was due. The dispute was eventually resolved in Dvořák’s favour, but the issue flared up again a few years later, which would lead to his next symphony being published by the English firm of Novello & Co.

The Seventh (as we may now definitively refer to it) is a self-consciously epic work by a composer highly aware of his position as both an internationally renowned composer and a representative of his people’s nascent national identity. From its brooding opening though its lyrical and fiery middle movements to its noble yet tragic conclusion it reflects the time of its creation, and the struggles of the Czech people to establish a voice and a nation for themselves. Yet it also looks wider: Dvořák takes many cues from Brahms, whose third symphony had recently been unveiled, and which influence can be heard particularly strongly in the second movement. The note he scribbled on the sketch for this movement, “From the sad years”, refers to the Czech longing for independence, but also to more personal concerns. The recent death of his mother was still at the front of his mind, but this must also have brought back memories of the previous decade, when in the space of two years his three eldest children all died in infancy. Perhaps this sharp demonstration of the fragility of life spurred Dvořák to play his part in the rebirth of his nation. “Twenty years ago we Slavs were nothing,” he told the Gazette. “Now we feel our national life once more awakening, and who knows but that the glorious times may come back which five centuries ago were ours, when all Europe looked up to the powerful Czechs, the Slavs, the Bohemians, to whom I, too, belong, and to whom I am proud to belong.”

© 2013 Peter Nagle

TONIGHT’S PROGRAMME

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ARTISTS’ BIOGRAPHIES

BIOGRAPHIES

Russell Keable conductor

Russell Keable has established a reputation as one of the UK’s most exciting musicians. As a conductor he has been praised in the national and international press: “Keable and his orchestra did magnificently,” wrote the Guardian; “one of the most memorable evenings at the South Bank for many a month,” said the Musical Times.

He performs with orchestras and choirs throughout the British Isles, has conducted in Prague and Paris (concerts filmed by French and British television) and recently made his debut with the Royal Oman Symphony Orchestra in Dubai.

As a champion of the music of Erich Korngold he has received particular praise: the British première of Korngold’s Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a world première of music from Korngold’s film score for The Sea Hawk.

Keable was trained at Nottingham and London Universities; he studied conducting at London’s Royal College of Music with Norman Del Mar, and later with George Hurst. For nearly 30 years he has been associated with Kensington Symphony Orchestra, one of the UK’s finest non-professional orchestras, with whom he has led first performances of works by many British composers (including Peter Maxwell Davies, John Woolrich, Robin Holloway, David Matthews, Joby Talbot and John McCabe). He has also made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York.

Russell Keable is recognized as a dynamic lecturer and workshop leader. He has the rare skill of being able to communicate vividly with audiences of any age (from school children to music students, adult groups and international business conferences). Over five years he developed a special relationship with the Schidlof Quartet, with whom he established an exciting and innovative education programme. He holds the post of Director of Conducting at the University of Surrey.

Keable is also in demand as a composer and arranger. He has written works for many British ensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of their millennium celebration, was premièred in July 2000. He has also composed music for the mime artist Didier Danthois to use working in prisons and special needs schools.

KSO2: KSO violins join Pro Musica Uganda

KSO continues to support the Kampala Music School. In September 2012 Russell Keable, accompanied by Helen Turnell, made a second visit to direct the burgeoning orchestra in Kampala as part of KSO2 – Building Bridges Through Music. This enterprise was set up in 2010 to connect KSO with music schemes in Uganda. New premises for the school had just become available. With the Ugandan musicians, Russell experienced the new rehearsal space first hand and saw the potential of much improved facilities. These also included more practice rooms, an instrument store and an enhanced library. Clearly the purchase and refurbishment of the new premises required substantial funding. But with continued support a safe centre for young Ugandans to learn classical music is becoming a sustainable reality. In May, KSO violinists Louise Ringrose and Helen Turnell participated in the second performance by the Orchestra Pro Musica Uganda, a significant event in the KMS Building Appeal run by the Friends of Kampala Music School. This time, Pro Musica was conducted by Sir Roger Norrington, patron of the appeal, and joined by cellist Guy Johnston, its vice patron.The historic Wheatsheaf Hall in Vauxhall provided an atmospheric setting for our intense day of rehearsals. As the musicians gathered beneath the high arched ceiling,

friendships were renewed and new acquaintances made, everyone united by their links with KMS, whether as teachers or players. Immediately, the room resonated with cheery enthusiasm for the cause. David Macdonald worked tirelessly, training the skilled resources in the desired historic classical style including playing without vibrato. Sir Roger Norrington built on this with his irrepressible exuberance. His theatrical and often humorous approach inspired the players to even greater heights for Mendelssohn’s Hebrides overture and Beethoven’s Pastoral symphony. Guy Johnson’s technical brilliance in the Elgar cello concerto, and the immediate rapport between soloist and conductor, helped deliver the very best from the chamber orchestra.On concert night in the lovely Cadogan Hall the music was spellbinding from the moment the baton was raised, and the support and appreciation from the capacity audience uplifting. Everyone involved was overjoyed at the success of the event and another £11,000 was added to the fund thanks to the generosity of performers and audience.Cards are on sale in aid of the Friends of Kampala Music School appeal. Thanks to all for your continued support.For more information see: kampalamusicschool.com friendsofkms.org.uk

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ARTISTS’ BIOGRAPHIES

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Kensington Symphony Orchestra

In its 57th year Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest amateur orchestras in the UK. Its founding premise—to provide students and amateurs with an opportunity to perform concerts at the highest possible level—continues to be at the heart of its mission. It regularly attracts the best non-professional players from around London.

It seems extraordinary that KSO has had only two principal conductors—the founder, Leslie Head, and the current incumbent, Russell Keable. The dedication, enthusiasm and passion of these two musicians has indelibly shaped KSO’s image, giving it a distinctive repertoire which undoubtedly sets it apart from other groups. Its continued commitment to the performance of the most challenging works in the canon is allied to a hunger for new music, lost masterpieces, overlooked film scores and those quirky corners of the repertoire that few others dare touch.

Revivals and premières, in particular, have peppered the programming from the very beginning. In the early days there were world premières of works by Arnold Bax and Havergal Brian, and British premières of works by Nielsen, Schoenberg, Sibelius and Bruckner (the original version of the Ninth Symphony). When Russell Keable arrived in 1983, he promised to maintain the distinctive flavour of KSO. As well as the major works of Mahler, Strauss, Stravinsky and Shostakovich, Keable has aired a number of unusual works as well as delivering some significant musical landmarks—the London première of Dvořák’s opera Dimitrij and the British première of Korngold’s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as “a feast of brilliant playing”). In January 2004, KSO, along with the London Oriana Choir, performed a revival of Walford Davies’s oratorio Everyman, which is now available on the Dutton label.

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If you would like to receive news of our forthcoming concerts by email, please join our mailing list. Just send a message to jo.johnson@kso.org.uk and we’ll

do our best to keep you informed.

New music has continued to be the life-blood of KSO. An impressive roster of contemporary composers has been represented in KSO’s progressive programmes, including Judith Weir, Benedict Mason, John Woolrich, Joby Talbot and Peter Maxwell Davies. Two exciting collaborations with the BBC Concert Orchestra have been highlights: Bob Chilcott’s Tandem and the première of Errollyn Wallen’s lively romp around the subject of speed dating, Spirit Symphony, at the Royal Festival Hall, both of which were broadcast on BBC Radio 3. In December 2005, Spirit Symphony was awarded the Radio 3 Listeners’ Award at the British Composer Awards. Russell Keable has also written music for the orchestra, particularly for its education projects, which have seen members of the orchestra working with schools from the inner London area.

In 2006 KSO marked its 50th anniversary. The celebrations started with a ball at the Radisson Hotel, Portman Square in honour of the occasion, attended by many of those involved with the orchestra over the previous 50 years. The public celebration took the form of a concert at London’s Barbican in October. A packed house saw the orchestra perform an extended suite from Korngold’s score The Sea Hawk, Rachmaninov’s Piano Concerto No. 2, with established KSO collaborator Nikolai Demidenko, and Prokofiev’s cantata Alexander Nevsky, with the London Oriana Choir.

KSO has an honourable pedigree in raising funds for charitable concerns. Its very first concert was given in aid of the Hungarian Relief Fund, and since then the orchestra has supported the Jacqueline du Pré Memorial Fund, the Royal Brompton Hospital Paediatric Unit, Trinity Hospice, Field Lane, Shape London and the IPOP music school. In recent years it has developed links with the Kampala Symphony Orchestra and Music School under its KSO2 programme, providing training, fundraising and instruments in partnership with charity Musequality. In February 2013, the orchestra held a sponsored play in Westfield London shopping centre, raising over £15,000 for the charity War Child.

The reputation of the orchestra is reflected in the quality of international artists who regularly appear with KSO. In recent seasons soloists have included Nikolai Demidenko, Leon McCawley, Jack Liebeck and Richard Watkins, and the orchestra has worked with guest conductors including Andrew Gourlay and Nicholas Collon. All have enjoyed the immediate, enthusiastic but thoroughly professional approach of these amateur musicians.

Without the support of its sponsors, its Friends scheme and especially its audiences, KSO could not continue to go from strength to strength and maintain its traditions of challenging programmes and exceptionally high standards of performance. Thank you for your support.

ARTISTS’ BIOGRAPHIES

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YOUR SUPPORT

To support KSO you might consider joining our very popular Friends Scheme. There are three levels of membership and attendant benefits:

Friend

Unlimited concession rate tickets per concert; priority bookings, free interval drinks and concert programmes.

Premium friend

A free ticket for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks and concert programmes.

Patron

Two free tickets for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks and concert programmes.

All Friends and Patrons can be listed in concert programmes under either single or joint names.

We can also offer tailored Corporate Sponsorships for companies and groups. Please ask for details.

Cost of membership for the 57th Season was:

Friend . . . . . . . . . . . . . . . . . . £50 Premium friend. . . . . . . . . . £110 Patron . . . . . . . . . . . . . . . . . £200

To contribute to KSO by joining the Friends please contact David Baxendale on 020 8653 5091 or by email at friends@kso.org.uk.

Honorary Friends

Michael FlemingLeslie Head

Patrons

Kate BonnerGill CameronBob DrennanMalcolm and Christine DunmowGerald HjertDaan MatheussenDavid and Mary Ellen McEuenLinda and Jack PievskyNeil Ritson and familyKim Strauss-Polman

Premium Friends

David BaxendaleFortuné and Nathalie BikoroJohn DaleJohn DoveyMichael and Caroline IllingworthMaureen KeableDavid and Rachel MusgroveJoan and Sidney Smith

Friends

Robert and Hilary BruceMichele ClementJoan HackettRobert and Gill Harding-PayneHenry and Sarah Keighley-ElstubRufus Rottenberg

FRIENDS OF KSO

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OTHER WAYS TO SUPPORT US

Sponsorship

One way in which you, our audience, can help us very effectively is through sponsorship. Anyone can be a sponsor, and any level of support—from corporate sponsorship of a whole concert to individual backing of a particular section or musician—is enormously valuable to us. We offer a variety of benefits to sponsors tailored especially to their needs, such as programme and website advertising, guest tickets, and assistance with entertaining.

For further details about sponsoring KSO, please speak to any member of the orchestra, email sponsorship@kso.org.uk or call James Wheeler on 07808 590176.

The KSO Endowment Trust

An Endowment Trust has been established by Kensington Symphony Orchestra in order to enhance the orchestra’s ability to achieve its charitable objectives in the long term.

The Trust will manage a capital fund derived from donations and legacies. Each year, the Trustees will make grants from its income to assist important KSO projects and activities, such as commissioning new music, which would be impossible to finance relying on concert funds alone.

Our aim is to raise at least £100,000 over the first ten years. We would be pleased to hear from individuals or organisations who would like to donate any sum, large or small, and would also be keen to talk to anyone who might consider recognising KSO’s work in their will.

For further information, please email trust@kso.org.uk or telephone Neil Ritson on 07887 987711.

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The KSO Website

An easy way to make small contributions to KSO at no cost to yourself is via our newly revised website. A number of online retailers, including Amazon, Tesco Direct and Dell, will pay a small percentage of the value of your purchase to KSO when you go via our website to make it. To learn more, please visit our website at:

www.kso.org.uk/shop

YOUR SUPPORT

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First ViolinAlan TuckwoodBronwen FisherErica JealClaire DoveyAdrian GordonHelen WaitesSabina WagstylSarah HackettAline NassifHelen TurnellVidel Bar-KarTaro VisserMatthew Hickman

Second ViolinDavid PievskyFrançoise RobinsonRufus RottenbergJeremy BradshawHeather BinghamKathleen RuleRichard SheahanKatie EvansDavid NagleDanielle DawsonJenny DavieAntonio de Stefano

ViolaBeccy Spencer Guy RaybouldSally Randall Alex TysonZen EdwardsAlison NethsinghaCamilla DervanLiz Lavercombe Jane Spencer-DavisPhil Cooper

CelloJoseph SpoonerPeter NagleAnna HamiltonAnna UnwinCat MugeRosi CalleryGeorge WalkerLois MattsonDavid Baxendale

Double BassSteph FlemingGisella FerrariSudhir Singh April PrenticeRebecca MinogueAlison Coaker

FluteJudith JeromeClaire PillmoorIngrid van Boheemen

PiccoloIngrid van Boheemen

OboeChris AstlesEmily Good

Cor AnglaisJuliette Topham- Murray

ClarinetClaire BaughanChris Horril

BassoonNick RampleySheila Wallace

ContrabassoonRobin Thompson

Music DirectorRussell Keable

TrusteesChris AstlesDavid BaxendaleJohn DoveyCat MugeHeather PawsonNick RampleyNeil RitsonRichard SheahanSabina WagstylJames Wheeler

Event TeamChris AstlesZen EdwardsBeccy SpencerSabina Wagstyl

Marketing TeamJeremy BradshawGuy RaybouldJo JohnsonDavid MusgroveLouise Ringrose

Membership TeamPhil CambridgeDavid BaxendaleCat Muge

ProgrammesDavid Musgrove

French HornJon BoswellEd CornJim MoffatHeather Pawson

TrumpetSteve WillcoxJohn Hackett

TrombonePhil CambridgeKen McGregor

Bass TromboneDavid Musgrove

TimpaniBrian Furner

PercussionAndrew BarnardDavid Musgrove

TONIGHT’S PERFORMERS

ORCHESTRA

Registered charity No. 1069620

Tuesday, 15 October 2013, 7.30pm (St John’s Smith Square)BARTÓK Dance SuiteBARBER Knoxville: Summer of 1915 (soprano: Katherine Watson)JOHN ADAMS Harmonielehre

Monday, 25 November 2013, 7.30pm (Milton Court)PROKOFIEV Piano Concerto No. 3 (piano: Nikolai Demidenko)BRUCKNER Symphony No. 3

Monday, 20 January 2014, 7.30pm (Queen Elizabeth Hall)MUSSORGSKY St John’s Night on the Bare Mountain (original version)LISZT Totentanz (piano: Ji Liu)BERLIOZ Symphonie Fantastique

Saturday, 15 March 2014, 7.30pm (St John’s Smith Square)With guest conductor Jacques Cohen, to include:WALTON Symphony No. 1

Monday, 12 May 2014, 7.30pm (Milton Court)RACHMANINOV The Isle of the DeadDEBUSSY La MerLUTOSŁAWSKI Symphony No. 3

Monday, 23 June 2014, 7.30pm (St John’s Smith Square)TCHAIKOVSKY Romeo and Juliet—Fantasy OvertureKODÁLY Dances of GalántaNIELSEN Symphony No. 2 “The Four Temperaments”