Cambridge University Musical SocietyWest Road Concert Hall

CambridgeCB3 9DP

www.cums.org.uk

Principal Guest Conductor Sir Roger Norrington CBECUMS Conductor Laureate Sir Stephen Cleobury CBE

Artistic Advisor Sian Edwards

CAMBRIDGE UNIVERSITY

SINFONIA

Saturday 7 March 2020, 8.00pmWest Road Concert Hall

TESS JACKSONCUMS Conducting Scholar 2019

conductor

MARK ZANGCUMS Concerto Competition 2019 prize-winner

piano

www.cums.org.uk

CUMS is grateful for the support ofChrist’s College, Churchill College, CUMS Fund, CUMS Supporters’ Circle, Emmanuel College, Girton College, Gonville & Caius College, Jesus College, Lucy Cavendish College, Magdalene College, Murray Edwards College, Newnham College, Peterhouse College, Queens’ College, Robinson College, St Edmund’s College, St John’s College, Trinity College, Trinity Hall College, University of Cambridge Faculty of Music, University of Cambridge Societies Syndicate, West Road Concert Hall, Wolfson College

Cambridge University SinfoniaSaturday 7 March 2020, 8.00pm

West Road Concert Hall

Borodin Polovtsian Dances from Prince Igor de Falla Nights in the Gardens of Spain Rimsky-Korsakov Scheherazade

Tess Jackson conductor

Mark Zang pianoCUMS Concerto Competition 2019 prize-winner

CUMS Conducting Scholar 2019

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Alexander Borodin (1833–1887)Polovtsian Dances from Prince IgorWhile alexander Borodin has been regarded as one of the most renowned Russian composers of the nineteenth century, he was by profession a chemist and physician – it was only in 1862 when the composer Mily Balakirev persuaded him to take his hobby more seriously. Seven years later, Borodin set to work on the opera Prince Igor, his most ambitious musical work. He intended for it to be a ‘Russian’ opera, showing no influence from the Italian or German traditions. It was to occupy him for eighteen years, and due to his commitments to his scientific endeavours, he never completed the opera. While he never orchestrated the opera – he left this to his friend and fellow composer Nikolai Rimsky-Korsakov as well as Rimsky-Korsakov’s pupil, alexander Glazunov – he did orchestrate the Polovtsian Dances, which were performed before the opera’s premiere.

the opera is based on the Epic of Igor and His Army, which tells the story of Prince Igor Sviatoslavich of Sversk and his defence of his city from the tatar Polovtsi tribe. the ‘Polovtsian Dances’, which conclude act II, are a depiction of the entertainment that the Polovtsi leader, Khan Konchak, stages for the captured Igor. In order to try and create appropriate musical imagery, Borodin studied the music and the lore of the tatars and the turkomans, and he includes folksongs from the Caucasus as well as Moorish North africa.

Following a brief introduction, there are four dances. the first dance is given by enslaved girls who sing of their homeland, as depicted by a repeated sixteen-bar phrase passed between the oboe, cor anglais, flutes and violins. the second dance, entitled ‘Dance of the Savage Men’, arrives rather abruptly. Constantly accompanied by syncopated rhythms, it is characterised by two themes, one rapid and scalic and the other rather imposing, played simultaneously by different sections of the orchestra. It concludes with an accelerando almost to the point where it loses control. the third dance, named ‘General Dance’, features the whole orchestra. Heavily chromatic, it builds up to a crash before starting again. the fourth dance juxtaposes two themes, one portraying dancing boys and the other dancing men. Introduced by a bounding rhythm in the upper strings (which is prominent throughout the whole dance) and a descending scale in the bassoons and cellos, the boys’ dance features short motifs played in the upper woodwind calling out to each other. the arrival of the trombones signal the men’s dance, which is also characterised by trill-like figures across the orchestra. the final section of the piece is a summary of what has come before it, concluding with a flourish on an open a chord.

Patrick Morris

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Manuel de Falla (1876-1946)Nights in the Gardens of Spain

I. En el Generalife (In the Generalife)II. Danza lejana (Distant Dance)

III. En los jardines de la Sierra de Cordoba (In the gardens of the Sierra de Cordoba)

at the time of Falla’s birth in 1876, Spanish music and its folk traditions had hardly breached the borders of the Iberian peninsula. However, Rimsky-Korsakov’s brief visit signalled change, for his Capriccio Espagnole (1887) was a symbol of the influence that Spain had on the composer. this led to several French composers, including Bizet, Chabrier and Lalo, to explore the newly-found musical traditions of a country that lay to the south. By the turn of the twentieth century, Spanish influences were at the core of Parisian musical life, featuring heavily in works by composers such as Debussy and Ravel. Falla arrived in Paris in 1905 and initially planned to stay in the city for only a few weeks. However, it was almost a decade before he would see his homeland again. Drawn to the impressionist circles, Falla was acquainted with Debussy and Ravel, as well as the Spanish pianist Ricardo Viñes.

Falla initially planned the work as a set of three nocturnes for piano but he was advised to expand it into a work for piano and orchestra. arranged into three movements, the work resembles a piano concerto, but it is actually an orchestral work with a prominent piano part. Falla wrote that the piece was written “to evoke [the memory of] places, sensations, and sentiments” and that the themes were based on the music of andalucía. He also wrote that “the orchestration frequently employs certain effects peculiar to the popular instruments used in those parts of Spain”.

Falla dismissed the idea of descriptive music and instead advocated for expression, with the intention of mixing melancholy and mystery with the sound of festivals and dancing. the first movement, En el Generalife, depicts the alhambra Palace in Granada. the dark and nostalgic mood is established at the very beginning, with a tremolo in the upper strings and a dream-like melody in the piano. the accompanying harp and pizzicato strings imitate the sound of the guitar, the most traditional instrument of Spain. the second theme of the movement is in the Phrygian mode, another typical characteristic of Spanish music.

the second movement, Danza lejana, does not actually portray a garden; instead, it brings forth the passion and intensity of a flamenco. While it is dominated by a jaunty melody that is passed around the orchestra, there are dark undertones prominent throughout the movement. there is a neat segue into the final movement, En los jardines de la Sierra de Cordoba, which is a gypsy festival. Here the brilliant piano part weaves through the lush orchestral score. the work ends very delicately, with staccato chords played by the piano and pizzicato lower strings. Patrick Morris

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Nikolai Rimsky-Korsakov (1844–1908)Scheherazade

I. The Sea and Sinbad’s ShipII. The Legend of the Kalendar Prince

III. The Young Prince and The Young PrincessIV. Festival at Baghdad. The Sea. Ship Breaks upon a

Cliff Surmounted by a Bronze Horseman.

‘an Oriental narrative of some numerous and varied fairy-tale wonders’

Completed in 1888, the symphonic suite Scheherazade was first conceived while Rimsky-Korsakov was completing his orchestration of alexander Borodin’s Prince Igor, a work which triumphantly recalled Russia’s military conquests in the east under the eponymous Prince in 1185.

Scheherazade follows the tales which, according to legend, were told by Sultana Scheherazade over a thousand and one nights in order to stave off the murderous appetite of her husband, the Sultan Schahriar. Her tales of romance, adventure, terror and triumph entertained and enchanted the Sultan and he postponed his plan to execute his wife night after night and eventually, he abandoned his murderous plot entirely. Inspired by this compilation of Middle eastern folk stories widely known as Arabian nights, Rimsky-Korsakov’s Scheherazade epitomised the fascination of the Russian Five (Moguchaya Kuchka – Borodin, Cui, Balakirev, Mussorgsky, Rimsky-Korsakov) with eastern lands and their people. Indeed, throughout the mid- to late- nineteenth century, the composers of the Russian national school established a set of musical conventions which slowly came to be associated with Easterness.

While Rimsky-Korsakov himself had had few encounters with Middle-eastern and asian musicians, he intended for Scheherazade to ‘carry away the impression that it is beyond doubt an oriental narrative of some numerous and varied fairy-tale wonders.’ Melodic ornaments, melismas, and chromaticism, all of which abound in Scheherazade, helped Rimsky-Korsakov and other composers of the national school to evoke a mysterious and exotic other in their music. at the same time however, this oriental style was used to define a distinctly Russian musical language, one which was separate from Western european music tradition and which symbolised the Russian empire as it expanded into the east. Largely as a consequence of the activities of Sergei Diaghilev’s itinerant Ballet Russes and its extravagant and sensational presentations of Russian music of the national school abroad, this orientalist style subsequently came to be identified as quintessentially Russian and it continues to inform notions of an ineffable musical Russianness; a unique identity often encompassed in the idea of the elusive ‘Russian Soul’.

In four movements, Scheherazade follows the Sultana’s stories of The Sea and Sinbad’s Ship, the legend of The Kalendar Prince and The Young Prince and The Young Princess and it concludes with her tale of the brilliant Festival at Baghdad and the dramatic The Sea and the Shipwreck. More than a

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thousand years old when Rimsky-Korsakov composed the suite, and far older today, the fantastical tales of Arabian Nights continue to inspire and influence artists across the globe and Rimsky-Korsakov’s transporting 1888 suite has since become a pillar of Russian music.

While the composer was later to become disillusioned with the evocation of the east in his music and would work to demystify oriental lands and people, (represented in his final opera, the Golden Cockerel) his work throughout his career helped to develop a Russian musical identity which refracted Russia’s situation at a nexus between east and West, oriental and occidental and which continues to capture hearts and minds across the world.

eirini Diamantouli

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Tess Jacksontess is a current second year Music student at Clare College, studying conducting with Sian edwards. In 2017, she won the City of Cambridge Symphony orchestra Young Conductors Competition, and was the Principal Conductor of the Cambridge Graduate orchestra for 2018/19. tess is the 2019/20 Cambridge University Musical Society Conducting Scholar, and Principal Conductor of the Cambridge University Sinfonia and will be continuing that role in the 2020/21 season. aside from conducting, tess is keen violinist and is a member of the Cambridge University Instrumental award Scheme with the athena Quartet, having led the Cambridge University Musical Society tour to Krakow in July 2019. She is also this year’s Student President of Clare College Music Society.

tess has had the privilege to assist conductors such as Jac van Steen and andrew Gourlay and looks forward to assisting Christian Kluxen, timothy Redmond, and Marin alsop in 2020/21. She has been taught in masterclasses by Sian edwards, Nicholas Cleobury, Ben Glassberg and alice Farnham.

after acting as assistant Music Director for the Cambridge University opera Society 2018 production of Rossini’s Il signor Bruschino, tess was aMD and co-Project Manager for their edinburgh Fringe production in august 2019. In December 2019, tess was Musical Director for Donnacha Dennehy’s the Last Hotel, a contemporary multimedia opera, which was the first opera by a living professional composer to be put on by the Cambridge University opera Society in 45 years. Her first year with CUS will culminate in a collaboration with the Cambridge University Musical theatre Society, performing hits from musicals including West Side Story, Parade and Follies.

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Mark ZangBorn in england in 2001, Mark began playing the piano at the age of 4, and went on to study at the Purcell School of Music from 2010-2018. there, he studied with Valeria Szervansky and Danielle Salamon. Now a second-year music student at emmanuel College, he has been accepted onto the CaMRaM scheme and has lessons with amandine Savary at the Royal academy of Music.

Mark has taken part in masterclasses with pianists such as Bernard d’ascoli and Dimitri alexeev, and has performed in venues such as the Fazioli Hall in Italy, St. Martin-in-the-Fields, Milton Court, and the Wigmore Hall. Mark was also the winner of the concerto section of the West London Piano Festival in 2017, and a finalist in Purcell’s senior concerto competition in 2018.

as well as performing as a soloist, Mark also spends his time working in ensembles with instrumentalists and singers, regularly performing in recitals around the university. outside of the piano, Mark is also the junior organ scholar at emmanuel College, and enjoys both singing and composing.

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CaMBRIDGe UNIVeRSItY SINFoNIa

VIOLIN ISophie Rogan CAILivia Lisi Vega DOWRoy Navid THannah Banks NSameer

aiyar-Majeed Ramatta Mirandari MURemer Jones CAIJasmine Shao SELucy Dai CHR

VIOLIN IIMererid Jones NLaura Mayo SEIona Branford GLaura Clesham CLemma Robinson*Sabrina Collier TLizzy Martin JEteen Jui Chow TLucy atherton CTHJacqueline Siu CHU

VIOLAalice Clow*George Bird Falfred Spence TH

CELLONick Ingles*Nick Rupert Walice Barbe JE

Humphrey allan JNMichael Stevens Roliver

Bealby-Wright CCCecilia Yearsley EMamelia Monaghan CC

DOUBLE BASSJoe Wardhaugh GDanielle

ainstworth-Patrick*

FLUTEMegan Robinson JEKatie Shaw CLanna Ryan MUR

OBOEtristan Bromley JNRose Blyth QHelena Mackie CL

CLARINETLucy Walker CAIolivia Dodd TH

BASSOONemma Williams Kemma Macrae R

HORNandrew Hunton Telizabeth

Nightingale JEChris Winkless-Clark K

Lucy Howard CHR

TRUMPETRachel armitage GNicholas

Dibb-Fuller CL

TROMBONELawrence Schofield THIna Kruger MWill Barnes-

McCallum CTH

TUBAJonathan Mayers*

TIMPANIMassimo Martone*

PERCUSSIONJonathan Phillips*Lloyd Hampton GSam Weinstein PEMWill Rose QHelena Mackie CL

HARPHannah Lewis PEM

CELESTE

Morgan overton T

* Guest players

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CaMBRIDGe UNIVeRSItY MUSICaL SoCIetY

Cambridge University Musical Society (CUMS) is one of the oldest and most distinguished university music societies in the world. It offers a world-class musical education for members of the University and local residents, nurturing the great musicians of the future and providing performing opportunities for over 500 Cambridge musicians every year.

the Society has played a pivotal role in British musical life for over 170 years. It has educated Sir andrew Davis, Sir Mark elder, Sir John eliot Gardiner, edward Gardner, Christopher Hogwood and Robin ticciati, has premièred works by Brahms, Holloway, Lutoslawski, Rutter, Saxton and Vaughan Williams, and has given generations of Cambridge musicians the experience of performing alongside visiting conductors and soloists including Britten, Dvořák, Kodaly, Menuhin and tchaikovsky. Since the 1870s, CUMS has enjoyed the leadership of several of Britain’s finest musicians, including Sir Charles Villiers Stanford, Sir David Willcocks, Sir Philip Ledger, and, from 1983 to 2009, Stephen Cleobury.

In 2009, Stephen Cleobury assumed a new role as Principal Conductor of the CUMS Symphony Chorus, Sir Roger Norrington was appointed as Principal Guest Conductor and a series was launched to expose CUMS members to a succession of world-class visiting conductors.

In 2010, CUMS entered another new phase when it merged with the Cambridge University Chamber orchestra and Cambridge University Music Club. In october 2010, the Society launched the Cambridge University Lunchtime Concerts – a new series of weekly chamber recitals at West Road Concert Hall showcasing our finest musical talent. In 2011 it welcomed the Cambridge University Chamber Choir, which is directed by Martin ennis and David Lowe and Nicholas Mulroy. In 2014, the Cambridge University Jazz orchestra and the Cambridge University New Music ensemble joined CUMS as associate ensembles. Most recently, in 2017, CUMS orchestras undertook a restructure, forming two ensembles (Cambridge University orchestra and Cambridge University Sinfonia) as opposed to three, with the aim of creating a greater number of opportunities for students to play under some of the best professional conductors.

CUMS continues to provide opportunities for our finest student soloists and conductors by awarding conducting scholarships and concerto prizes, and it encourages new music by running a composition competition and premièring at least one new work each year. Recent highlights have included a recording of Haydn and Mozart Symphonies with Sir Roger Norrington, Mahler’s Symphony No. 3 with Paul Daniel, Brahm’s Symphony No. 1 with Sir Mark elder, Verdi’s Requiem conducted by Jac van Steen, Stravinsky’s The Rite of Spring, conducted by Duncan Ward, and Britten’s War Requiem with Graham Ross and a host of operatic stars.

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/20CUMS oFFICeRS 2019/20

Cambridge University Musical Society is a registered charity, limited by guarantee (no.1149534) with a board of trustees chaired by Dame Fiona Reynolds. the Society also administers the CUMS Fund with its own board of trustees. the day to day running of the ensembles is undertaken by the student presidents and their committees with professional support.

CUMS Student PresidentHelena Mackie

CUMS Student Vice PresidentWill Rose

Vice PresidentsRichard andrewesNicholas CookSir John Meurig-thomas

Principal Guest ConductorSir Roger Norrington CBe

Artistic AdvisorSian edwards

Director, Cambridge University Symphony ChorusRichard Wilberforce

Director, Cambridge University Chamber ChoirMartin ennis

Associate Directors, Cambridge University Chamber ChoirDavid LoweNicholas Mulroy

President, Cambridge University OrchestraHenrietta McFarlane

President, Cambridge University SinfoniaJoe Wardhaugh

President, Cambridge University Symphony ChorusLawrence Wragg

Student President, Cambridge University Symphony ChorusGianmarco Raddi

President, Cambridge University Wind Orchestraalexandra Hunt

President, Cambridge University Lunchtime ConcertsMaxim Meshkvichev

President, Cambridge University Chamber ChoirRachel Hill

President, Cambridge University Percussion EnsembleRichard Moulange

CUMS Conducting Scholartess Jackson

Assistant ConductorCarlos Rodríguez otero

CUMS Composers in Residenceapostolis KoutsogiannisBenjamin Graves

CUMS Instrument ManagersDave ellisPhilip HowieSam Kemp

Advisors to the ensemblesMaggie HeywoodChristopher LawrencePaul NicholsonMartin RichardsonJohn Willan

Programme DesignerDima Szamozvancev

Trustees of CUMSDame Fiona Reynolds (chairman)David ButcherSimon FaircloughJames FurberStephen JohnsJo WhiteheadNigel Yandell

Trustees of the CUMS FundChris FordNicholas Shawalan FindlayPeter JohnstoneJenny Reavell

Vice ChairmanJo Whitehead

Executive DirectorChloë Davidson

CUMS Senior TreasurerChris Ford

CUMS TreasurerNicholas Shaw

Performance AssistantKatharine ambrose

Cambridge University Symphony Chorus General ManagerPaul Fray

Development and Marketing Assistantellie Hargreaves

Concerts AssistantPip Matthews

CUMS Librarian and Alumni SecretaryMaggie Heywood

Supporters’ Circle SecretaryChristine Skeen

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e SUPPoRt USSince it was founded in 1843, CUMS has provided unique opportunities for successive generations of Cambridge musicians. It has immeasurably enriched the cultural life of the university and city, and, having launched many of the biggest careers in classical music, it has played a pivotal role in the musical world beyond.

each year, 500 students — reading everything from Music and Maths to Medicine and Modern Languages — take part in up to 40 concerts, as conductors, instrumentalists, singers and composers. CUMS offers these students opportunities to work with world-class conductors and soloists, tackle ambitious repertoire and develop as musicians.

CUMS receives no core funding from the University, and income from ticket sales does not meet the full cost of delivering a world-class musical education. the Supporters’ Circle plays a vital role in helping to raise the £35,000 needed every year to sustain CUMS’ programme of ambitious projects, which includes orchestral coaching from members of the major London orchestras, and the opportunity to work with professional conductors and soloists.

all those who value Cambridge’s splendid musical heritage, and who want the University to provide opportunities for the finest young musicians of the twenty-first century, are invited to join the CUMS Supporters’ Circle. as well as helping us to fulfil our ambitions, members of the Supporters’ Circle enjoy exclusive benefits, including priority booking, drinks receptions and the opportunity to sit in on rehearsals.

For further details about the Supporters’ Circle, please visit www.cums.org.uk/support. alternatively, please write to Christine Skeen: christineskeen@gmail.com.

In helping us reach our targets, you will become part of an extraordinary musical tradition. Thank you.

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UPCoMING eVeNtS

our full list of concerts for the rest of the season can be found in out 2019-20 CUMS Season Brochure, but below

is a glimpse of our upcoming events.

Lunchtime ConcertThe Athena Ensemble

tuesday 10 March 2020, 1.10pmWest Road Concert Hall

King’s Foundation ConcertCambridge University Orchestra

Saturday 14 March 2020, 5.30pmKing’s College Chapel

Songs of Love and DestinyCambridge University Chamber Choir

thursday 23 april 2020, 8.00pmRobinson College Chapel

Beethoven 2020: Symphony No.7Cambridge University Orchestra

Saturday 2 May 2020, 8.00pmWest Road Concert Hall

Bridges Over the River CamCambridge University Wind Orchestra and

Cambridge University Jazz Orchestratuesday 12 May 2020, 8.00pm

West Road Concert Hall

Mozart RequiemCambridge University Symphony Chorus and

East Anglia Chamber OrchestraSaturday 13 June 2020, 8.00 pm

King’s College Chapel

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CUMS SUPPoRteRS’ CIRCLe MeMBeRSHIP FoRM

SECTION 1: MEMBERSHIP INFORMATION

Personal detailsName and address (if different from Sections 2 and 3) ........................................................................................................................................................................................................................................................................................................................................................

telephone  ..............................................................

email  ........................................................................

Membership lev elI would like to join the Supporters’ Circle at the following level:

F the Britten Circle (£10,000+) F the Vaughan Williams Circle (£2,500+) F the Stanford Circle (£1,000–£2,499) F Principal Benefactor (£500–£999) F Benefactor (£250–£499) F Donor (£100–£249)

Acknowledgement F I would like my name acknowledged in CUMS concert programmes and on the CUMS website as ................................................................................

F I would prefer to remain anonymous

Payment detailsI would like to make my donation by:

F Cheque (please enclose a cheque made payable to CUMS)

F CaF Cheque (please enclose a CaF Cheque made payable to CUMS)

F Standing order (please complete Section 2 below)

F Shares (please contact Christine Skeen at the address below)

Amount of Donation: £

SECTION 2: STANDING ORDER MANDATE(Please complete this section if you would like to make your donation by standing order.)

Name of your bank  ............................................

address of your bank  .............................................................................................................................

Your sort code  .....................................................

Your account number .......................................

Please pay CUMS, Metro Bank Cambridge, Sort code 23-05-80, account number 34201927 the sum of £..........................

(Print amount: .............................................................pounds)

Per F month F quarter F year

Starting on  ............................................................

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Please return your entire completed form and payment to Christine Skeen, Secretary, CUMS Supporters’ Circle, West Road Concert Hall, 11 West Road, Cambridge CB3 9DP.

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SECTION 3: GIFT AID DECLARATIONCambridge University Musical Society (CUMS) is a registered charity (no. 1149534) and as such can claim Gift aid on eligible donations.

Please treat as Gift aid donations all qualifying gifts of money made

F today F in the past 4 years F in the future

Please tick all boxes you wish to apply.

I confirm I have paid or will pay an amount of Income tax and/or Capital Gains tax for each tax year (6 april to 5 april) that is at least equal to the amount of tax that CUMS will reclaim on my gifts for that tax year. I understand that other taxes such as Vat and council tax do not qualify. I understand the charity will reclaim 25p of tax on every £1 that I give on or after 6 april 2008.

title ....................First name or initial(s)  .................................................................................................

Surname  .............................................................................................................................................................

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Signature .................................................................................... Date  ................................................

Please notify CUMS if you:

• want to cancel this declaration

• change your name or home address

• no longer pay sufficient tax on your income and/or capital gains

If you pay Income tax at the higher or additional rate and want to receive the additional tax relief due to you, you must include all your Gift aid donations on your Self assessment tax return or ask HM Revenue and Customs to adjust your tax code.

Please return your entire completed form and payment to Christine Skeen, Secretary, CUMS Supporters’ Circle, West Road Concert Hall, 11 West Road, Cambridge CB3 9DP.

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CUMS SUPPoRteRS’ CIRCLe

The Britten Circle£10,000+adrian and Jane FrostThe Vaughan Williams Circle£2500-£9,999 per annumMonica ChambersMr & Mrs GardinerThe Stanford Circle£1,000-£2,499 per annumSir Keith Stuartand one anonymous donorPrincipal Benefactors£500-£999 per annumSimon FaircloughKathryn Puffettand one anonymous donorBenefactors£250-£499 per annumangela and Rod ashby-JohnsonChris CoffinStuart FfoulkesChris FordCatriona MillR. Moseyeric Nye and Carol FrostNeil PetersenPeter Shawdonand one anonymous donorDonors£100-£249 per annumRichard andrewesJohn Barber

Frank and Genevieve BenfieldRobert and elaine CulshawMartin DarlingJon Gisby and Kate Wilsonandrew and Rachel GraceMichael GwinnellDonald and Rachel HearnPhilip and Lesley Helliar Mr Jonathan Hellyer JonesLady Jennings Jennie KingChristopher Lawrence Debbie Lowther & John Short John MacInnesalan C McLeanSue Marshandrew MorrisJudith RattenburyRuth RattenburyCatherine SharpDr M. L. SharpM. ShawRobert and Christine Skeenandrew SoundyJo StansfieldVeronica and alex SutherlandGrahame and Cilla SwanDr Patricia tateSir John Meurig thomasJo WhiteheadRuth Williamsand thirteen anonymous donorsHonorary Life MemberMaggie Heywood

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Cambridge University Musical SocietyWest Road Concert Hall

CambridgeCB3 9DP

www.cums.org.uk

Principal Guest Conductor Sir Roger Norrington CBE

Artistic Advisor Sian Edwards