DELIUSBRIDGESIBELIUS

TUESDAY 3 JULY 2018ST JOHN’S SMITH SQUARE

62ND SEASON2017/18

COVER IMAGE: Edge Movement (1967) by Harry Ousey (1915-85). The Manchester-born artist was inspired by nature throughout his career, painting landscapes from St Ives to Marseilles. Reproduced by kind permission of the estate of Harry Ousey. For more information, visit harryousey.co.uk and Elephantstones Gallery at elephantstones.co.uk

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

TUESDAY 3 JULY 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

DELIUSA Song of Summer

SIBELIUSSymphony No.6

Interval 20 minutes

BRIDGEThe Sea

4 KENSINGTON SYMPHONY ORCHESTRA

TONIGHT’S PROGRAMME FREDERICK DELIUS 1862-1934

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DELIUS A Song of Summer (1929-30)

ALTHOUGH DELIUS WAS BORN in Bradford, he lived most of his life outside England, spending his last 30 years in Grez-sur-Loing, a village south of Paris, near Fontainebleau. After the First World War, he became blind and partially paralysed through syphilis; eventually unable to hold a pen, the composer could no longer set down on paper the music that still filled his imagination.

The story of how Eric Fenby, a young Yorkshireman, offered his services after hearing of the composer’s plight is memorably depicted in Ken Russell’s haunting film A Song of Summer, made in 1968 and named after the first piece the pair worked on after Fenby joined the Delius household in October 1928.

A Song of Summer was based on A Poem of Life and Love, a work for large orchestra that Delius had begun in 1918 but had been forced to abandon. He asked Fenby to select anything worth salvaging and to develop it into a new piece with a different title. In August 1929, Delius announced that an entirely new opening had come to him in the night.

“I want you to imagine we are sitting on the cliffs, in the heather, looking out over the sea,” he said. “The sustained chords in the high strings suggest the clear sky, and the stillness of the scene… you remember that figure that comes in the violins when the music becomes more animated. I’m introducing it here to suggest the gentle rise and fall of the waves… that flute figure suggests a seagull gliding by.”

After this evocative opening, a harp enters and the tempo quickens, the subtle inflections of pulse depicting the uncertainty of the sea’s movement, mixed with breezes. The

return of the opening mood is marked by very soft chords in the harp, followed by a slow build-up to a magnificent fortissimo climax before the music magically dies away.

The mellowness of the work and its masterly sense of form show that Delius’s musical powers were not in decline, but it is difficult to imagine how painstakingly it had been taken down. Fenby described how Delius “dictated with great rapidity… the mood was one of frenzy. He could not keep still, but would wiggle about in his armchair, gesticulating wildly… until, bathed in perspiration, he could go on no longer. Then he would be carried away exhausted.”

The piece was first performed at the Proms in 1931, conducted by Henry Wood, with Delius listening to the radio broadcast at home.

Delius wrote A Song of Summer in France

‘Delius would wiggle about in his armchair, gesticulating wildly’Eric Fenby, the composer’s amanuensis

FRANK BRIDGE 1879-1941

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BRIDGE The Sea (1910-11)

AS A YOUNG MAN, Frank Bridge established a reputation not only as a composer of chamber music and songs, but also as an outstanding conductor and string player. In 1910, the increased colour-range of the modern orchestra encouraged him to write a descriptive work, and The Sea is the crowning achievement of his early period. Completed in July 1911, in Eastbourne (where Debussy had finished La Mer in 1905), the work was first performed at the Proms in September 1912, conducted by Henry Wood.

This was Bridge’s first major orchestral work, but the scoring is already personal, confident and clear. These are not “impressions” in the conventional sense; Bridge sometimes uses Impressionist harmony, but he was never an Impressionist, always combining evocative nature poetry with the precise musical argument of his chamber music. In the 1920s, the Romanticism of these early compositions was to give way to something darker, abstract and more daringly experimental.

Bridge conducted The Sea at the Norwich Triennial Festival in 1924, when the ten-year-old Benjamin Britten was “knocked sideways” by the piece. A few years later, Bridge taught Britten privately, treating him almost like the son he never had. His impact was enormous, Britten saying that his mentor’s “loathing of all sloppiness and amateurism set me standards I’ve never forgotten”. In 1931, Britten made an arrangement of The Sea for two pianos, and the work surely influenced the Four Sea Interludes in his 1945 opera Peter Grimes.

The Sea reflects both the British fascination with this elemental force and Bridge’s love of

the rocky coastline. This led him to build a house around a mile from Beachy Head, where he lived until his death. He liked to take friends walking over the cliffs with their superb view of the Channel, and whenever it was fine, he would go prawning before breakfast.

For the first performance, the composer provided the following comments:

• Seascape. Seascape paints the sea on a summer morning. From high drifts is seen a great expanse of waters lying in the sunlight. Warm breezes play over the surface.

• Sea-Foam. Sea-foam froths among low-lying rocks and pools on the shore; playfully, not stormy.

• Moonlight. A calm sea at night. The first moonbeams are struggling to pierce dark clouds, which eventually pass over, leaving the sea shimmering in full moonlight.

• Storm. Wind, rain and tempestuous seas. With the lulling of the storm, an allusion to the first number is heard, which may be regarded as the sea-lover’s dedication to the sea.

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Frank and Ethel Bridge in January 1937, with Benjamin Britten (centre) in Paris

6 KENSINGTON SYMPHONY ORCHESTRA

TONIGHT’S PROGRAMME

SIBELIUS Symphony No.6 (1918-23)

SIBELIUS HAS BEEN CALLED “the greatest master of the symphony since Beethoven” and “the aristocrat of symphonists”. Yet he was always reluctant to discuss his own work. “You know how the wing of a butterfly crumbles at a touch? So it is with my compositions; the very mention of them is fatal,” he said. One of his few revealing remarks was made to Gustav Mahler, when he declared his aim to be “strictness of style and the deep logic that unites all of the themes by an inner bond”.

Given the austerity of so much of his music, it is perhaps surprising that Sibelius was a true epicurean. He dressed fastidiously, smoked the best Havana cigars and delighted in good food and wine. His last known work was completed in 1929. After that, there was silence until his death, nearly 30 years later.

With their total concentration on a single vision, Sibelius’s late symphonies show a complete disregard for playing to the gallery. This is particularly true of the Sixth, which has never been as popular as the Fifth or the

Seventh. It is a restrained work, more subtle than Sibelius’s other symphonies, and the one that prompted his remark that “while other composers [he probably meant Strauss and Ravel] were mixing cocktails of various hues”, he was offering “pure spring water”. But although the Fifth and Sixth are very different in character, it now seems clear that their genesis was interconnected, and it has long been evident that the Sixth and the Seventh were conceived in parallel.

Completed in 1923, the Sixth was dedicated to the Swedish composer Wilhelm Stenhammar, and it was in Sweden, in Gothenburg, that Sibelius conducted the first performance in February of that year. Shortly before the concert, however, the composer could not be found, alarming his hosts. A search of local hostelries found him eating oysters and

‘A butterfly crumbles at a touch… so it is with my compositions; the very mention of them is fatal’Jean Sibelius

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Mirror (2010) and Icy (2012) by the Finnish photographer Susanna Majuri (b.1978)

JEAN SIBELIUS 1865-1957

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drinking champagne, unsure whether the performance was a rehearsal or a concert. After the première, he was withdrawn and confused; fumbling in his pocket, he smashed a bottle of cognac he had been carrying.

Sibelius’s late symphonies elude conventional analysis because the music is so integrated that it does not fall into clear episodes. The Sixth grows from four descending notes (known as a “kernel-motif ”) and is in the Dorian mode; that is, D minor with the seventh note flattened, the scale most commonly used in Finnish folk song. As the conductor Simon Parmet explains: “The Finn interprets the modal element in the Sixth in the same way he does when it occurs in the folk song… he experiences the Sixth as something extremely Finnish.”

The piece has one of the most beautiful openings of all of Sibelius’s symphonies. Shimmering high strings suggest a restful forest landscape, and for 30 bars, there is nothing but quietly moving diatonic counterpoint in four or five parts, perhaps a result of the composer’s admiration for Palestrina, Lassus and the 16th-century English masters. The structure, an introduction and allegro, is a variation of the first movement of the Fifth.

The slow movement has wonderfully economic scoring, while in the scherzo, the pulse never slackens. Menacing brass chords are used with great power, and the mood is heavy and melancholy, despite the lively tempo. The critic Robert Layton describes the finale as “one of Sibelius’s most perfect”, and it can be heard as a set of variations, all growing out of each other, on the movement’s initial theme.

FABIAN WATKINSONProgramme notes: © the author, 2018

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Sibelius described his Sixth as “pure spring water”; Majuri often uses water in her work

Sibelius with his wife, Aino, in October 1955PH

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8 KENSINGTON SYMPHONY ORCHESTRA

RUSSELL KEABLE ConductorARTISTS’ 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.

He has been associated with KSO for more than 30 years, establishing the group’s reputation as one of the finest non-professional orchestras in the UK. Under his baton, KSO has become known for its consistently 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 made his debut 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 developed a special relationship with the Schidlof Quartet, with whom he established an innovative education programme. He is a dynamic lecturer and workshop leader, working with audiences ranging from schoolchildren to music students and international business conferences.

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, was premièred in July 2000. He has also composed music for the mime artist Didier Danthois to use in prisons and special-needs schools.

Russell Keable has been praised as a conductor in both the national and international press

KENSINGTON SYMPHONY ORCHESTRA

JULY 2018 9

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, Julian Anderson, Charlotte Bray, Brett Dean, Jonny Greenwood, Oliver Knussen, Magnus Lindberg, Benedict Mason, Rodion Shchedrin, Joby Talbot and John Woolrich.

In 2005, Errollyn Wallen’s Spirit Symphony, performed with the BBC Concert Orchestra and broadcast on BBC Radio 3, won the

FOUNDED IN 1956, Kensington Symphony Orchestra 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 at the heart of its mission.

KSO has had only two principal conductors: its founder, Leslie Head, and the incumbent, Russell Keable, who recently celebrated three decades with the orchestra. The knowledge, passion and dedication of these musicians has shaped KSO, giving it 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.

Russell Keable has aired a number of unusual works, as well as delivering some significant musical landmarks: the London première of Dvorak’s opera Dimitrij and the British première of Korngold’s operatic masterpiece

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CONTINUED ON P10

The orchestra at Cadogan Hall, London, in January 2017

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

10 KENSINGTON SYMPHONY ORCHESTRA

THE ORCHESTRAARTISTS’ BIOGRAPHIES

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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.

From the very beginning, KSO has held charitable aims. Its first concert was given in aid of the Hungarian Relief Fund, and it has since supported many different charities. 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 the charity Musequality.

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.

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 Ji Liu and Richard Uttley. KSO 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’s regular performance venue is St John’s Smith Square. It also performs regularly at the Queen Elizabeth Hall and at Cadogan Hall, and celebrated its 60th anniversary with a gala concert at the Barbican Centre in May 2017.

KSO has developed a distinctive repertoire that sets it apart from other groups

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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 DunmowMrs G Hjert Nick 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

JULY 2018 11

Join our Friends’ Scheme to receive special benefits

SUPPORT KSO by joining our popular Friends’ Scheme. There are three levels of membership with special benefits.

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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12 KENSINGTON SYMPHONY ORCHESTRA

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

JULY 2018 13

KSO ONLINEFIND OUT MORE

GO TO KSO.ORG.UK to keep up to date with the orchestra and all our events. You can see the details of forthcoming concerts, listen to previous performances, read reviews and learn more about the history of KSO.

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14 KENSINGTON SYMPHONY ORCHESTRA

THE ORCHESTRATONIGHT’S PERFORMERS

FIRST VIOLINAlan TuckwoodSabina NielsenAdrian GordonRia HopkinsonClaire MaughamHelen HockingsBronwen FisherRobert ChatleyHeather BinghamSusan KnightHelen Stanley

SECOND VIOLINMatthew HickmanJill IvesSarah HackettJenny DavieErica JealFrancoise RobinsonHelen TurnellElizabeth BellCamilla NelsonEmily AdlamRufus RottenbergSultan Kara

VIOLABeccy Spencer Guy RaybouldHattie Rayfi eldAlison Nethsingha Sally RandallDaniela DoresJeremy LambertJane Spencer-Davis Andrew McPhersonOlivia Foster Vander Elst

CELLOJoseph SpoonerAlex BreedonVanessa HadleyZoe MarshallLinda HindmarshEmma ChamberlainDavid BaxendaleAnnie Marr-Johnson

DOUBLE BASSSteph FlemingAndrew NealPeter TauntonAlison Coaker

FLUTEChristopher WyattClaire Knighton Emma Brown

PICCOLO Emma Brown

OBOECharles BrenanJuliette Murray-TophamChris Astles

COR ANGLAISChris Astles

CLARINETChris HorrilIvan Rockey

BASS CLARINETGraham Elliot

BASSOONNick RampleySheila WallaceJohn Wingfi eld-Hill

CONTRABASSOONKriskin Allum

FRENCH HORNJon BoswellHeather PawsonEd CornJeremy Garside

TRUMPETStephen WillcoxJohn HackettLeanne Th ompson

TROMBONEPhil CambridgeKen McGregor

BASS TROMBONEStefan Terry

TUBANeil Wharmby

TIMPANITommy Pearson

PERCUSSIONTim AldenCatherine HockingsSimon WillcoxAndrew Barnard

HARP Bethan Semmens

MUSIC DIRECTORRussell Keable

TRUSTEESChris AstlesDavid BaxendaleElizabeth BellJohn DoveyJudith Ní BhreasláinSabina NielsenHeather PawsonNick RampleyRichard Sheahan

ENDOWMENT TRUSTRobert DrennanGraham ElliottJudith Ní BhreasláinNick RampleyNeil Ritson

EVENTSCatherine AbramsChris AstlesJudith Ní BhreasláinSabina NielsenBeccy SpencerLeanne Th ompson

MEMBERSHIPJuliette BarkerDavid BaxendaleAndrew Neal

MARKETINGJeremy BradshawRia HopkinsonJo JohnsonAndrew NealGuy Raybould

PROGRAMMESRia Hopkinson

WOODWIND COACHChris O’Neal

CONTACT US:

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KSO regularly performs new, unusual and unjustly neglected works

63RD SEASON2018/19

BOOK TICKETS & FIND OUT MORE:

MONDAY 15 OCTOBER 2018 7.30PMST JOHN’S SMITH SQUAREJOAN TOWER Fanfare for the Uncommon Woman No.1JOHN ADAMS Doctor Atomic SymphonyBERNSTEIN Divertimento for OrchestraWILLIAM SCHUMAN Symphony No.3

MONDAY 26 NOVEMBER 2018 7.30PMST JOHN’S SMITH SQUAREHOLST Ballet music from The Perfect FoolRACHMANINOV Symphonic DancesVAUGHAN WILLIAMS Job: A Masque for Dancing

TUESDAY 22 JANUARY 2019 7.30PMQUEEN ELIZABETH HALLKORNGOLD Kings RowGERSHWIN Piano Concerto in F Soloist: Richard UttleyRAVEL Daphnis et Chloé (complete ballet) Chorus: Epiphoni Consort

SATURDAY 16 MARCH 2019 7.30PMST JOHN’S SMITH SQUAREENESCU Romanian Rhapsody No.1MAHLER Kindertotenlieder Soloist: Julien Van MellaertsLUTOSLAWSKI Concerto for Orchestra Guest conductor: Holly Mathieson

MONDAY 13 MAY 2019 7.30PMCADOGAN HALL LYADOV The Enchanted LakeHUW WATKINS SymphonySIBELIUS Four Legends from the Kalevala

MONDAY 1 JULY 2019 7.30PMST JOHN’S SMITH SQUARE KODALY Dances of MarosszékCHRIS LONG World premièreDVORAK Symphony No.6

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PHOTO: © SIM CANETTY-CLARKE