59th SEASON

Charlotte Bray Black Rainbow Rachmaninov Rhapsody on a Theme of Paganini Piano: Martin James Bartlett Interval – 20 minutes Prokofiev Symphonyno.7(original version) Alice Farnham conductor Alan Tuckwood leader

Saturday14March2015,7.30pm St John’s Smith Square

In accordance with the requirements of Westminster City Council persons shall not be permittedtositorstandinanygangway.ThetakingofphotographsanduseofrecordingequipmentisstrictlyforbiddenwithoutformalconsentfromStJohn’s.SmokingisnotpermittedanywhereinStJohn’s.RefreshmentsarepermittedonlyintherestaurantintheCrypt. Please ensure that all digitalwatch alarms, pagers andmobile phones areswitchedoff.Duringtheintervalandaftertheconcerttherestaurantisopenforlicensedrefreshments.

Boxofficetel:02072221061.Website:www.sjss.org.uk. St John’s Smith Square Charitable Trust,registeredcharityno:1045390.RegisteredinEngland.Companyno:3028678.

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TONIGHT’S PROGRAMME

Black Rainbow

A moonbow or ‘black rainbow’ is a rarely observed phenomenon. It occurs whenmoonlight is refracted through moisture in the air.Whenonedoesappearthelowlightlevelsandmutedcoloursproducedmakeitdifficulttosee.

The close, humid atmosphere of New Hampshire in summer provides good conditions for a black rainbow to appear.It was there that Charlotte Bray found the inspiration for her orchestral work Black Rainbow, when she spent time at the MacDowellColony in2013.TheColonywasestablishedin1907byMarianMacDowell,wifeof the composer Edward MacDowell. Manycomposers have been awarded fellowships to stay there, including Aaron Copland, Leonard Bernstein and Ruth Crawford Seeger. In the1920s an amphitheatre was constructed.This remarkable structure is a recreation of the similar spaces found in Greece where the works of Ancient Greek dramatists were performed.

Black Rainbow was commissioned by the City of Birmingham Symphony Orchestra for theirYouthOrchestraandfirstperformedin2014,continuingaconnectionwiththecitythat stretches back to Bray’s student days. In it Bray imagines scenes played out at theamphitheatre.The black rainbow of the title is‘ametaphor for something sought afterbut impossible to attain, an alluringongoing search’.Thepiece is in twoparts:‘Thefirstmovementisdarkandritualistic.It’smidsummerandtheairistight,uncomfortable.Thelight grey, purple almost.The second is fleeting, sensual; time is suspended, a dream-likestate.’

CHARLOTTE BRAY born1982

Charlotte Bray

Photo©NicholasDawkes

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Rhapsody on a Theme of Paganini

The trauma of being forced to leave Russia in 1917 left its mark on Rachmaninov’soutput: between then and his death in 1943he completed only six original works. Thecombination of homesickness and the punishing touring schedule he had to undertake in order to provide for his family took its toll, and his inspirationseemedtodeserthim.

Of those six works, four were composed in the 1930s.The revival of his compositionalactivity was partly a result of his feeling moresettled:hebuiltavillabyLakeLucernein Switzerland, which he christened Senar (a portmanteau of his and his wife’s names).He spent every summer until 1939 at Senar,which more than one visitor observed had the atmosphere of the kind of Russian homestead where Rachmaninov had spent his youth.Aswell as recreating the kind of home he was familiar with from his childhood (all the staff at Senar were Russian), he was also able to indulge his love of gadgetry and novelty by acquiring a speedboat, which he would race acrossthelake.

Althoughhisscheduledidnotpermithimtocomposeprolifically,theworkshedidcompleteduringthistimerankassomeofhisfinest:theCorelli Variations, the Rhapsody on a Theme of Paganini, the Third Symphony and the Symphonic Dances all date from this period.Theseworksonthewholewerelesswell-receivedbyaudiencesthanhisearliermusic,buttheRhapsody was an immediate hit and quickly established itself as a necessary part of any pianist’s repertoire. In1937 thechoreographerMikhail Fokine approachedRachmaninovwith the idea of a ballet on the legend of Paganini, using the Rhapsody. This was eventually producedatCoventGardenin1939.Rachmaninovhadplannedtoattendbutintheeventwasunabletoashehadinjuredhimselfinafall.TheadventofwarmeanthewouldneverhavetheopportunitytovisitLondonagain.

TheselateworksallseeRachmaninovexpandinghisoutlookasacomposer.Theyaremoreadventurous in harmony and orchestration, occasionally nodding towards Prokofiev, themostprominentoftheyoungergenerationofRussiancomposers.ThustheRhapsody, while it is as generously upholstered as one might expect from its composer, has its voluptuousness temperedwithacertainamountofbrittle,steelywit.Rachmaninov’sdesignfortheworkisoneofhis tightestandmostsuccessful.Therearetwenty-fourvariations,whichgroup

TONIGHT’S PROGRAMME

SERGEI RACHMANINOV 1873–1943

Sergei Rachmaninov

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TONIGHT’S PROGRAMME

togetherintofourdistinctsections:thefirsttenvariationsformanopening‘fastmovement’,variations11–15areamoderatesequenceintripletime,variations16–18correspondtoaslowmovement,andvariations19–24provideafinale.

The theme itself is one of the most famous and widely appropriated of its kind, taken from Paganini’s Caprice no.24forsoloviolin.Ithasprovidedinspirationtoabewilderingvarietyofmusicians,fromBrahmstoBennyGoodman.Unusually,thefirstthingwehearisnotthethemebutthefirstvariation:askeletaloutlinewhichisthenfleshedoutbytheappearanceofthethemeitself.Thesubsequentvariations followlargelyseamlesslyandthere is littlepointincataloguingthemhere.However,onesignificantdevelopmentthatshouldbenotedis in the sixth variation, in which Rachmaninov introduces a countermelody in the form of hisrecurringobsession,theDiesIrae(‘DayofWrath’)plainchantfromtheRequiemmass.Fromhereonthisshadows,andoccasionallyoverwhelms,themaintheme.

The eleventh variation, a Lisztian cadenza, heralds the second‘movement’: a moderatetriple-timewhich builds in energy before evaporating in another cadenza.The sixteenthand seventeenth variations then introduce a mystical mood, which eventually softens into the eighteenth variation, in which Rachmaninov inverts the theme (a process more readily associatedwithBachorSchoenberg)toproduceoneofhisfinestmelodies(‘Thatoneisformyagent’,hecommenteddryly).Variations19–24thenformafinale,inwhichtheDiesIraeiscombinedwiththemainthemeinmusicofincreasinglyfreneticcharacter.Everythingseems to be building to an apocalyptic conclusion before Rachmaninov pulls the rug from undereveryone’sfeetinabrilliantlydeadpanconclusion.

Kensington Symphony Orchestra is grateful to Jaques Samuel Pianos Ltd for supplying the Fazioli piano for tonight’s performance.

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TONIGHT’S PROGRAMME

SERGEI PROKOFIEV 1891–1953

Symphonyno.7

Moderato Allegretto Andante espressivo Vivace

The Prokofiev who wrote the SeventhSymphony in 1951–52 was a world awayfrom the precocious young talent who had penned his First, the ‘Classical’ Symphony, forty-fiveyearsearlier.In1917Prokofievwasa prodigy, a bright young talent to watch out for.TheSeventhSymphonyincontrastisthefinaldesperatelysadoutpouringofasickandbrokenman.

He had spent most of the period following the 1917RussianRevolutionabroadinEuropeandtheUnitedStates.However,hefeltincreasinglyhomesickandfrom1927begantovisitRussiaagain. Stalin’s regimewas keen to court himas one of the foremost Russian composers of the day, and in 1936 persuaded Prokofievand his family to return permanently to the SovietUnion.Prokofievhadbeenassuredthathisinternationaltouringcareerwouldnotbecurtailed,buthesoonfoundhismovementsasrestrictedasanyoneelse’s.

Prokofiev’snaivetyhadledhimtobelievethathisownmusicwouldnotbesubjecttotherestrictions applied to his peers.Hewas, after all, committed to the ideal of producingpositive music that would appeal to the common man, and therefore his work was fully alignedwiththeconceptofSocialistRealism.HehadafirstinklingofthecapriciousnessoftheStalinistregimeshortlyafterhesettledintheSovietUnionin1936.AnewadaptationofEugene Onegin, which was being prepared for the centenary of Pushkin’s death and for which Prokofievwascomposingtheincidentalmusic,wasabruptlydeclaredtobeunsuitableforperformance.OnthisoccasionProkofievhimselfwasnotinthefiringline,andwassimplyleftwithacollectionofmusicwhichhewouldrecycleinanumberoffutureprojects.

Thefullforceoftheregimeeventuallyhithimin1948,whentheinfamousZhdanovdecreeaccusedhim,alongwithShostakovichandKhachaturian,ofcomposing‘Formalist’music.ForShostakovich, a cynic who had been through this kind of condemnation before, the path was clear:lielow,produceafewpotboilerspraisingStalinandwaituntilthewindchanged.ForProkofiev,however,theexperiencewasdevastating:hehadnostrategytodealwithsucha situation.Hewas almost immediately reduced topenury, asnearly all hisworkswerebannedfromperformance.Prokofiev’shealthbynowwasalreadypoor,andthesituationexacerbatedmatters.Overthenextfewyearshishealthdeterioratedfurther.

Sergei Prokofiev

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In1952somerespitefinallycamewhentwoofhisworkswereunexpectedlyrehabilitated:Zdravitsa,whichhehadwritten forStalin’ssixtiethbirthdaycelebrations in1938,andhisballet Cinderella.Hewasalreadyworkingonanewsymphonywhich—likeCinderella—reused ideas from his music for Eugene Onegin, and hoped that this would help restore him tofavour.

ThenewsymphonywasplayedinapianoarrangementtotheUnionofSovietComposersand approved, and even gained the approval of the State Radio Orchestra (‘Oh wonder!’, Prokofievsarcasticallynoted).Prokofievwastooilltocompletethewritingoutofthefullscore himself and had to enlist the help of a younger colleague, but managed to attend its premièreon11October1952.ItwassuggestedthattheworkmightevenbeinlineforaStalinPrize.Therewas,however,thestatePrizeCommitteedeclared,aproblem:theendingofthesymphonywasnotjoyfulenough;perhapsProkofievcouldcomposeanewone?Itwas impliedthatsucharevisionmightmakethedifferencebetweena third-divisionandfirst-divisionprize. Evenhadhenot been in suchdire straits this kindof request couldnot be refused, and so Prokofievwrote an alternative ending, and pretended to like it.Meanwhile, he pleaded with his friend, the cellist Mstislav Rostropovich, ‘Slava, you will live much longer than I,andyoumust takecarethat thisnewendingneverexistsafterme.’(Tonight’sperformanceobservesProkofiev’spreferredoriginalscheme.)

ProkofievoriginallysuggestedthattheSeventhwasasymphonyforchildren.Itsmelodiesandconstructionhaveasimplicityborderingonthenaive(‘Isittoosimple?’,heaskedthecomposerKabalevsky).The apparent simplicity is undermined, however, by his penchantfor abrupt shifts of tonality, and by his orchestration, which lends a pallor to the music that undermines itssuperficiallycheerfulelements.Thereseemslittleornofighthere,onlyadeepandwearysadness.Eventhewarmthemethatfollowsthedesolateopeningseemstohavemoreofyearningthansatisfactionaboutit,whilethetickingsoundsthatinterjectaddasubtlyunnervingaspect.Thesecondmovementisanapparentlycheerieraffairthatplayswithwaltzforms,althoughsuddenhigh-pitchedinterjectionsandothertwitchesundermineits pretensions to light-heartedness.The third movement reuses material from Eugene Onegin relating to its heroine Tatyana and her feelings for Onegin, and seems to inhabit aworldofnostalgiaandregret.Thefinaleseemstobegin ina liveliervein,andproceedsthroughwhatappearstobeacompendiumofclichéscommoninSovietmusicofthetime.ItisasthoughProkofievistakingaflickthroughthescoresofhiscontemporariesinsearchof something. Whatever it is isnot tobe found, though, andsoeventually theyearningthemefromthefirstmovementreturns,asdoestheticking,whichcountsslowlydowntothequietlydesperateend.

Prokofiev’sdeathon5March1953wentbarelynoticedinRussia:itwasovershadowedbythedeathofStalinonthesameday.TheSeventhSymphonywaseventuallyawardeditsstateprize.BythenStalin’snamehadbeenremovedfromallsuchofficialrecognition,andsoin1957ProkofievbecametheposthumousrecipientofaLeninPrize.

© Peter Nagle, 2015

TONIGHT’S PROGRAMME

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ARTISTS’ BIOGRAPHIES

BIOGRAPHIES

Alice Farnham conductor

Alice Farnham recently made her debut at St Petersburg’s Mariinsky Theatre, conducting Britten’s The Rape of Lucretia.In 2013 she conducted Britten’s Paul Bunyan for Welsh National Youth Opera to critical acclaim (‘Alice Farnham’s conducting, the driving force’ — The Guardian). Thiswas the first ever youthgroup to be nominated for a South Bank SkyArtsAward;theyalsowontheOperaCategory of the 2014 RPS Music Awards (along with Welsh National Opera’s Lulu and Lohengrin).Otherrecentengagementsinclude Singapore Lyric Opera, Tête à Tête Opera, Grange Park Opera ‘Rising Stars’, RoyalWelshCollegeofMusicandDrama,aUKTourofHansKrasa’schildren’soperaBrundibar for Mahogany Opera Group, and Richard Barnard’s A Perfect World for WelshNationalOpera.

AlicehasbeenaguestconductorattheRoyalBallet,CoventGarden,DanishRoyalBallet,BirminghamRoyalBallet,EnglishNationalBalletandRambertDanceCompany.

A student of the legendary pedagogue Ilya Musin, Alice studied conducting at the St PetersburgConservatoirefrom1997to2000.AgraduateofOxfordUniversity,sheheldanorganscholarshipatStHugh’sCollegeandStThomasChurch,FifthAvenue,NewYork.ShehasbeenontheGuestMusicStaffattheRoyalOperaHouse,CoventGarden,since2005.

Alice is increasingly sought after as an educator and trainer of young instrumentalists, singersandconductors.SheisHeadofMorleyOperaSchoolandworksregularlyattheRoyalWelshCollegeofMusicandDramaandwithSouthbankSinfonia.In2014shefounded‘Women Conductors at Morley’, a programme of workshops and classes to attract young womenintotheconductingprofession.

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ARTISTS’ BIOGRAPHIES

Martin James Bartlett piano

In May 2014, at the age of seventeen, Martin James Bartlett won the BBC Young Musician competition, following a performance of Rachmaninov’s Rhapsody on a Theme of Paganini with the BBC Scottish Symphony Orchestra, conducted byKirillKarabits.Martinbeganhispianostudies with Emily Jeffrey at the Royal College of Music Junior Department atthe age of eight, continuing at the Purcell School five years later. Last autumn hecommenced his undergraduate studies with Vanessa Latarche at the Royal College of Music with a coveted Foundation Scholarship. He has previously studiedthe bassoon and the recorder as well, achievingGrade8Distinctiononallthreeinstrumentsbytheageoftwelve.

DuringhistimeattheRoyalCollegeofMusicJuniorDepartment,MartinwontheGordonTurner Competition, the Teresa Carreño Competition, the Angela Bull Competition and thePeterMorrisonConcertoPrize.ForseveralyearsrunninghewasatopprizewinnerintheJaquesSamuelJuniorDepartmentPianoFestival.In2012hewasgrantedaTsukanovScholarship,whichgenerously supportedhisfinal yearsof studyat theRoyalCollegeofMusic JuniorDepartment.Duringhis timeat thePurcellSchool,MartinwontheFreddyMorgan Competition, the Wigmore Competition (both solo and chamber) and the Senior SchoolConcertoCompetition.

Martin has given solo recital performances at the Purcell Room, Wigmore Hall, St John’s Smith Square, Bolivar Hall and Novi Sad Town Hall, as well as the Royal Albert Hall’s Elgar Room, SteinwayHallandMoscow’sMulti-MediaArtsHall.Hehasalsoparticipatedinmasterclasseswith Lang Lang, Stephen Kovacevich, Mikhail Petukhov, Kathryn Stott, Aaron Shorr and AlbertoPortugheis.Hehasorganisedandperformedinnumerouscharityconcerts,todateraisingover£30,000forawiderangeofdeservingcauses.

In September 2014 Martin made his debut at the BBC Proms, performing Gershwin’s Rhapsody in Bluewith theUlsterOrchestraat theLastNightof thePromscelebrations,whichwerebroadcastlivefromBelfastonlineandonBBCRadioUlster.Healsoperformedwith Bournemouth Symphony Orchestra at Bournemouth Pavilion as soloist in the opening concertof their2014/15 season. Futureengagements includeconcertoperformances inLondonatCadoganHallandQueenElizabethHall.InApril2015MartinwillmakehisdebutwiththeRoyalPhilharmonicOrchestraattheRoyalAlbertHall.

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ARTISTS’ BIOGRAPHIES

Kensington Symphony Orchestra

Initsfifty-ninthyearKensingtonSymphonyOrchestraenjoysanenviablereputationasoneof thefinestamateurorchestras intheUK. Its foundingpremise—toprovidestudentsand amateurswith anopportunity toperformconcerts at thehighest possible level—continuestobeattheheartofitsmission.Itregularlyattractsthebestnon-professionalplayersfromaroundLondon.

ItseemsextraordinarythatKSOhashadonly twoprincipalconductors—the founder,LeslieHead, and the current incumbent, Russell Keable.The dedication, enthusiasm andpassion of these two musicians has indelibly shaped KSO’s image, giving it a distinctive repertoirewhichundoubtedlysetsitapartfromothergroups.Itscontinuedcommitmentto the performance of the most challenging works in the canon is allied to a hunger for new music,lostmasterpieces,overlookedfilmscoresandthosequirkycornersoftherepertoirethatfewothersdaretouch.

Revivalsandpremières,inparticular,havepepperedtheprogrammingfromtheverybeginning.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 theNinth Symphony).WhenRussell Keable arrived in 1983, he promised tomaintain the distinctive flavourofKSO. Aswell as themajorworksofMahler, Strauss,Stravinsky and Shostakovich, Keable has aired a number of unusual works, as well as deliveringsomesignificantmusicallandmarks—theLondonpremièreofDvořák’soperaDimitrij and the British première of Korngold’s operatic masterpiece Die tote Stadt (which the Evening Standardpraisedas‘afeastofbrilliantplaying’).InJanuary2004KSO,alongwiththeLondonOrianaChoir,performedarevivalofWalfordDavies’soratorioEveryman, which isnowavailableontheDuttonlabel.

Photo©SimCanetty-Clarke

ARTISTS’ BIOGRAPHIES

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.

Newmusichascontinuedtobethelife-bloodofKSO.Animpressiverosterofcontemporarycomposers has been represented in KSO’s progressive programmes, including Judith Weir,BenedictMason,JohnWoolrich,JobyTalbotandPeterMaxwellDavies.TwoexcitingcollaborationswiththeBBCConcertOrchestrahavebeenhighlights:BobChilcott’sTandem andthepremièreofErrollynWallen’slivelyromparoundthesubjectofspeeddating,Spirit Symphony, at theRoyal FestivalHall, bothofwhichwere broadcast onBBCRadio 3. InDecember2005Spirit SymphonywasawardedtheRadio3Listeners’AwardattheBritishComposerAwards.RussellKeablehasalsowrittenmusicfortheorchestra,particularlyforitseducationprojects,whichhaveseenmembersof theorchestraworkingwithschoolsfromtheinnerLondonarea.

In 2006KSOmarked its fiftieth anniversary.The celebrations startedwith a ball at theRadisson Hotel, Portman Square, in honour of the occasion, attended by many of those involved with the orchestra over the previous fifty years.The public celebration tooktheformofaconcertatLondon’sBarbicanCentreinOctober.Apackedhousesawtheorchestra perform an extended suite from Korngold’s The Sea Hawk, Rachmaninov’s Piano Concerto no.2, with established KSO collaborator Nikolai Demidenko, and Prokofiev’sAlexander Nevsky,withtheLondonOrianaChoir.

KSO has an honourable pedigree in raising funds for charitable concerns. Its very firstconcert 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 PaediatricUnit,TrinityHospice,FieldLane,ShapeLondonandthe IPOPmusicschool. Inrecent years it has developed links with the Kampala Symphony Orchestra and Music School under its KSO2 programme, providing training, fundraising and instruments in partnership withthecharityMusequality.InFebruary2015theorchestraheldanothersponsoredplayatWestfieldLondonshoppingcentre,performingtoaslightlysurprisedbutraptaudienceandraising£16,000forWarChild,toaddtothe£15,500weraisedatasimilareventin2013.

The reputation of the orchestra is reflected in the quality of international artists whoregularly appearwithKSO. In recent seasons soloistshave includedNikolaiDemidenko,Leon McCawley, Jack Liebeck and Richard Watkins, and the orchestra has worked with guest conductorsincludingAndrewGourlayandNicholasCollon.Allhaveenjoyedtheimmediate,enthusiasticbutthoroughlyprofessionalapproachoftheseamateurmusicians.

KSOisexcitedtoannounceitspartnershipwiththeyoungIrishcomposerSeánDohertyaspartofMakingMusic’sAdoptAComposerproject for the2014/15 season. Seánwillbe working closely with the orchestra in the coming months, leading to the première ofanewworkcomposed forKSO inMay2015.YoucanfindoutmoreaboutSeánandhis music at www.seandohertymusic.co.uk, and theAdoptA Composer project at www.makingmusic.org.uk/aac.

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 programmesandexceptionallyhighstandardsofperformance.Thankyouforyoursupport.

YOURSUPPORT

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FRIENDSOFKSO

TosupportKSOyoumightconsider joiningourverypopular Friends Scheme. There are three levels ofmembershipandattendantbenefits:

Friend

Unlimited concessionary 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 drinksandconcertprogrammes.

Patron

Two free tickets for each concert, unlimited guest tickets at concessionary rates, priority bookings, free intervaldrinksandconcertprogrammes.

All Friends and Patrons can be listed in concert programmesundereithersingleorjointnames.

We can also offer tailored Corporate Sponsorships for companiesandgroups.Pleaseaskfordetails.

Costofmembershipforthefifty-ninthseasonis:

Friend. . . . . . . . . . . . . . . . . . £60 Premium friend. . . . . . . . . £125 Patron . . . . . . . . . . . . . . . . £220

To contribute to KSO by joining the Friends pleasecontactDavidBaxendaleon02086535091orbyemailat friends@kso.org.uk.

Patrons

Kate BonnerJohnandClaireDoveyBobandAnneDrennanMalcolmandChristineDunmowGeraldHjertDaanMatheussenDavidandMaryEllenMcEuenMichael and Jan MurrayLinda and Jack PievskyNeil Ritson and familyKimStrauss-PolmanKeith Waye

Premium Friends

DavidBaxendaleClaude-SabineandFortunéBikoroJohnDaleAlastair FraserMichael and Caroline IllingworthMaureen KeableNick MarchantDrMicheleClementandDrStephanieMunnRichard and Jane RobinsonElizabeth RounceJoan and Sidney Smith

Friends

Anne BaxendaleRobert and Hilary BruceYvonne and Graham BurhopGeorge FriendJoan HackettRobertandGillHarding-PayneRufus Rottenberg

YOURSUPPORT

OTHERWAYSTOSUPPORTUS

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 ofa whole concert to individual backing of a particularsectionormusician—isenormouslyvaluable to us.Weoffer a variety of benefitsto sponsors tailored especially to their needs, such as programme and website advertising, guestticketsandassistancewithentertaining.

For further details about sponsoring KSO, please speak to any member of the orchestra, email sponsorship@kso.org.uk or call DavidBaxendaleon02086535091.

LeavingaLegacy:SupportingKSO for the next generation

Legacies left to qualifying charities — suchas Kensington Symphony Orchestra — areexemptfrominheritancetax.Inaddition,sinceApril 2012, if you leave more than 10% of your estate to charity the tax due on the rest of yourestatemaybereducedfrom40%to36%.

Legacies can be left for fixed amounts(‘specific’ or ‘pecuniary’ bequests) as eithercash or shares, but a common way to ensure 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 the specificbequeststoyour familyand friendshavefirstbeenmet.

If you include a bequest to KSO in your will, telling us you have done so will enable us to keep you informed of developments and, if you choose, we can also recognise your support.Any information you give us will be treated in thestrictestconfidence,anddoesnotformanykindofbindingcommitment.

Photo©SimCanetty-Clarke

Legacies, along with conventional donations, to KSO’s Endowment Trust allowus tobetterplan for thenextfiftyyearsoftheorchestra’sdevelopment.

For more information about leaving a legacy please speak to your solicitor or Neil Ritson, Chairman of the KSO Endowment Trust on 020 7723 5490 or email neil.ritson@kso.org.uk.

The KSO Website

An easy way to contribute to KSO at no cost to yourself is via our website.Anumber of online retailers will pay us a small percentage of the value of your purchase whenyougoviaourwebsitetomakeit.

www.kso.org.uk/shop

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YOURSUPPORT

SPONSOREDPLAY2015

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Followingahugelysuccessfuleventin2013,whichraised£15,500forthecharityWarChild,KSOhelditsSponsoredPlayatWesfieldLondonshoppingcentreonSunday15February2015.Playingforoversixhours,andwiththeadditionalfeatureofalargechoirsingingtheHallelujahChorus fromHandel’sMessiah andVerdi’sChorus of theHebrew Slaves, theorchestraraisedover£16,000forWarChild.

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TONIGHT’S PERFORMERS

ORCHESTRA

First ViolinAlan TuckwoodSabina WagstylTaro VisserHelen TurnellLouise RingroseLouise EvansVidelBar-KarAriane TodesMatthew HickmanClaireDoveyHeather BinghamJo JohnsonBronwen FisherErica JealSusan KnightSarah Hackett

Second ViolinDavidPievskyDavidNagleJeremy BradshawKathleen RuleAntonio de StefanoWendy JefferyJennyDavieRichard SheahanLiz ErringtonFrançoise RobinsonJill IvesJudithNíBhreasláinJuliette BarkerElizabeth BellRufus RottenbergDanielleDawson

ViolaBeccy SpencerGuy RaybouldSonya WellsSally RandallJessica TownsendJaneSpencer-DavisAlex TysonTom PhilpottSarah MarshallNick MacraeRobert Spencer

CelloPeter NagleDavidBaxendaleRosi CalleryZoeMarshallAnnieMarr-JohnsonRosie GoddardJudith RobinsonLouise WebberAna RamosPetra SaxbyBridget Brind

Double BassSteph FlemingAndrew NealMartin JohnsonGary NemorinPhil ChandlerElisabeth Callot

FluteMike CopperwhiteClaire PillmoorDanDixon

PiccoloDanDixonClaire Pillmoor

OboeCharles BrenanJulietteMurray-TophamChris Astles

Cor Anglais Chris Astles

ClarinetChris HorrilClaire Baughan

Bass ClarinetGraham Elliot

BassoonNick RampleySheila WallaceKriskin Allum

ContrabassoonSheila Wallace

French Horn Jon Boswell DuncanGwytherJim Moffat Richard Charlton

Trumpet Stephen WillcoxJohn HackettLeanne Thompson

TrombonePhil CambridgeKen McGregor

Bass TromboneStefan Terry

TubaNeil Wharmby

TimpaniTommy Pearson

PercussionTim AldenAndrew BarnardNick CowlingSimon Willcox

HarpAnneke Hodnett

PianoPanayotis Archontides

Music DirectorRussell Keable

TrusteesChris AstlesDavidBaxendaleJohnDoveyCat MugeHeather PawsonNick RampleyRichard SheahanSabina Wagstyl

Endowment TrustRobertDrennanGraham ElliottJudithNíBhreasláinNick RampleyNeil Ritson

Event TeamChris AstlesBeccy SpencerSabina Wagstyl

Marketing TeamJeremy BradshawGuy RaybouldJo JohnsonLouise Ringrose

Membership TeamPhil CambridgeDavidBaxendaleCat Muge

ProgrammesKathleen Rule

SEÁNDOHERTY Hive Mind (world première)

STRAVINSKY Concerto for Piano and Wind InstrumentsPiano: Alasdair Beatson

BEETHOVEN Symphonyno.7

Tuesday 19 May 2015

Milton Court,London EC2Y

Russell Keable Conductor

Alan TuckwoodLeader

Tickets:£12.50–£17.50

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Monday 13 October 2014, 7.30pm (St John’s Smith Square)RACHMANINOVTheIsleoftheDeadDEBUSSYLaMerLUTOSŁAWSKISymphonyno.3

Tuesday 25 November 2014, 7.30pm (St John’s Smith Square)Dedicated to the memory of Leslie HeadWALTON Variations on a Theme of HindemithVAUGHANWILLIAMSSongsofTravel(soloist: Sir John Tomlinson)STEPHENMONTAGUEFromtheEther(world première, St John’s commission for KSO)SIBELIUSSymphonyno.5

Monday 19 January 2015, 7.30pm (Queen Elizabeth Hall)Heroes and Villains at the Movies,toinclude:WAGNERRhineJourney,Siegfried’sDeathandFuneralMarchfromGötterdämmerungPlus Lawrence of Arabia, Batman, Sherlock and Superman

Saturday 14 March 2015 (St John’s Smith Square)With guest conductor Alice FarnhamCHARLOTTE BRAY Black RainbowRACHMANINOV Rhapsody on a Theme of Paganini (piano: Martin James Bartlett)PROKOFIEVSymphonyno.7(original version)

Tuesday 19 May 2015 (Milton Court)SEÁNDOHERTYHiveMind(world première)STRAVINSKY Concerto for Piano and Wind InstrumentsBEETHOVENSymphonyno.7

Monday 29 June 2015 (St John’s Smith Square)DUKASFanfaretoLa PériCHABRIER EspañaIBERT The Ballad of Reading GaolROUSSELBacchusandAriadne(complete ballet)

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