BRITTEN SINFONIA VOICESEAMONN DOUGAN Britten Sinfonia Voices directorBEN GOLDSCHEIDER horn

A. GABRIELI Maria stabat ad monumentum 4 mins

STRAVINSKY Fanfare for a New Theatre 1 min

MOZART Kyrie and Gloria from ‘Missa Brevis in F, K. 192’ 9 mins

STRAVINSKY Pater noster 1 min

MOZART Credo from ‘Missa Brevis in F, K. 192’ 7 mins

STRAVINSKY Ave Maria 2 mins

MOZART Sanctus, Benedictus and Agnus Dei from ‘Missa Brevis in F, K. 192’ 8 mins

INTERVAL 20 mins

ESA-PEKKA SALONEN Concert étude for solo horn 6 mins

BRUCKNER Aequale No. 1 for three trombones 2 mins

GESUALDO Two Movements from ‘Tenebrae Responsaries for Good Friday’ 10 mins

STRAVINSKY Mass 17 mins

LONDON MILTON COURT CONCERT HALLWednesday 28 March 2018 – 7.30pm

EASTER VOICES

If you have a mobile phone, please ensure that it is turned off during the performance.

In accordance with the requirements of the licensing authority, persons shall not bepermitted to stand or sit in any of the gangways.

No camera, tape recorder, other types of recording apparatus, food or drink may bebrought into the auditorium. It is illegal to record any performance unless priorarrangements have been made with Britten Sinfonia.

Large print versions of our programmes are available upon prior request by calling01223 300795.

www.brittensinfonia.com • @brittensinfonia • /brittensinf

We’re proud to feature ourown Britten Sinfonia Voices intonight’s Easter concert fromMilton Court. It’s only 6 yearsago that the Voices madetheir auspicious debutconcert in Amsterdam’sConcertgebouw (not a badplace to start) and during that

season set out their vision performing works from Pérotinto Birtwistle, including world premieres by Nico Muhlyand Ēriks Ešenvalds. Their flexibility, range and outlookwere designed to reflect Britten Sinfonia’s ethos and tobe seen as an extension of the orchestra (not just a bolt-on choir) providing a homogenous musical unit.

We hope these qualities will be demonstrated tonight in athought-provoking and imaginatively devised programmeby the choir’s Founder Director, Eamonn Dougan.Stravinsky is the central figure with his musicinterweaving, illuminating and informing some of hismusical inspirations – Gabrieli, Gesualdo and,

in particular, the 18-year-old Mozart’s Missa Brevis –with the concert concluding with Stravinsky’s Mozartian-inspired Mass.

Musical connections abound in this programme, and, if Imay, there are also connections of personal note as weoffer a very warm welcome to the brilliant young hornplayer, Ben Goldscheider (performing Concert étude byEsa-Pekka Salonen, the Barbican’s featured composerthis season and a Stravinsky aficionado), whose mum,Nicola, a long-standing Britten Sinfonia member violinist,is on stage tonight. There’s vicarious pride from many ofus who remember him as a babe in arms only some 20years ago …

Enjoy the concert!

David ButcherChief Executive & Artistic Director

WELCOMEPh

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AT LUNCH THREE

LONDON WIGMORE HALLWednesday 18 April 2018, 1pm

THOMAS GOULD violin

CLARE FINNIMORE viola

CAROLINE DEARNLEY cello

TOM POSTER piano

PRE-CONCERT TALK, 12.15pm (LONDON)Caroline Shaw discusses her new work.

www.brittensinfonia.com

CAROLINE SHAWThousandth Orange

(world premiere tour)

BRAHMSPiano Quartet No. 1 in G minor

Pulitzer Prize-winning Americancomposer Caroline Shaw’s newwork is premiered in the third

At Lunch concert of the season.

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The foundations of today’s programme rest upon twocentral pillars: Mozart and Stravinsky. Mozart’s music wasa source of lifetime fascination for Stravinsky, and in his‘neoclassical’ works (though he hated the term himself)Stravinsky made Mozart’s music newly relevant for the20th century, revisiting its balance and poise in his owndistinctly contemporary style. But when Stravinskystumbled upon the scores for some of Mozart’s masses ina second hand shop in 1942, he was rather less thancomplimentary about his predecessor. The charge? ThatMozart’s music was over-indulgent and unfit for purpose.‘As I played through these rococo-operatic sweets-of-sin’,Stravinsky recalled, ‘I knew I had to write a Mass of myown, but a real one.’ This is the pivot upon which today’sprogramme hangs: a tale of two masses, one composedin 1774, the other nearly two centuries later, and thedisparate influences that bring these alternative readingsof the Latin mass together.

Our starting point takes us back a further two hundredyears, with today’s Easter ‘service’ beginning in traditionalliturgical fashion – with an Introit. As its name suggests,the Introit is designed to serve a prefatory function to themass proper, its text changing in accordance with theliturgical year. It is fitting, then, that today’s programmeopens with Andrea Gabrieli’s (1533–85) motet for HolyWeek, Maria stabat ad monumentum (pub. 1587). Takingits text from the Gospel of St John, Gabrieli’s six-partmotet depicts Mary Magdalene, alone, weeping by Jesus’tomb. From its measured opening, the voices nearly asstatic as the figure of Mary herself, to the descendingmotifs mirroring her tears, Gabrieli’s text-setting is subtleand sensitive to the last. When asked by the Angels whyshe is weeping, she replies: ‘Tulerunt Dominum meum etnescio ubi poserunt eum’ – ‘they have taken away my Lordand I do not know where they have laid Him’.

While Gabrieli’s motet sets a meditative tone,Stravinsky’s jubilant Fanfare for a new theatre (1964)

‘heralds the start of the concert proper’, according toEamonn Dougan. Unlike his Mass, which is rooted in theneoclassical style, Stravinsky’s Fanfare dates from his lateserial period and, like Webern’s own musical miniatures inthe same vein, is as petite as its twelve-tone brethren.Although it is barely 40 seconds long, the Fanfareencapsulates the intricately-woven, canonic textures ofStravinsky’s post-war style, the two trumpets offering upa dramatic dialogue that is almost percussive in its timbraleffect. The work was written to commemorate the

opening of the New York State Theatre at the LincolnCenter, where it was first performed in April 1964. AsStravinsky’s biographer, Eric Walter White, later wrote:‘The effect of the two trumpets is like that of two pennantsflying and crackling in a brisk wind.’

As Eamonn Dougan (the conductor and architect of thisevening’s programme) points out, in a traditional liturgicalpresentation of the mass, ‘you would never hear themovements played consecutively’. So it is with tonight’sperformance of Wolfgang Amadeus Mozart’s (1756–91)

youthful Missa Brevis in F major, K.192 (1774), whosemovements are integrated throughout the programme.Composed when Mozart was just 18 years old, the massis one of eight to which he gave the name ‘missa brevis’(or ‘brief mass’) to satisfy his employer in Salzburg,Prince-Archbishop Hieronymus Graf von Colloredo. ThePrince believed that all settings of the mass should last nomore than 45 minutes – consequently, almost all ofMozart’s shorter masses were composed during his timein Salzburg. Their concision is matched in instrumentationtoo, with most of the ‘brevis’ settings composed for smallensemble to make them easily adaptable for small-scalechurch performance. For Dougan, this does nothing todiminish its impact. ‘The F major Missa Brevis is moresubstantial than the “brevis” might indicate’, he says, ‘andarguably the best of his youthful masses.’ Spirited, light andalmost childlike in its simplicity, K. 192 is an exquisiteexample of Mozart’s prodigious early talents. From thesparkling opening Kyrie to the swell and release of thepoignant Angus Dei, it is a masterpiece of text-setting.At its centre, the central theme of the expansive Credoalso prefigures the theme of his ‘Jupiter’ Symphonyfinale, composed some 14 years later. In tonight’sperformance, the simple church trio accompaniment ofMozart’s Mass contrasts with what Dougan describes as‘the more lush sound world of the winds and brass in theStravinsky’ to dramatic effect. ‘By interspersing themovements of the mass and the Stravinsky motets, we get achange of sound world and texture, it allows us to hearMozart and Stravinsky cheek by jowl and, hopefully,refreshes the aural palate of the listener.’

Mozart’s faith remained central to his compositionaloutput throughout his career, but it was a rather differentstory for Stravinsky. Having disavowed the Orthodoxchurch in his youth, in 1925 Stravinsky underwent adramatic religious conversion and the following yearcemented the renewal of his faith with his setting of the

A REFLECTION ON TONIGHT’S PROGRAMME BY JO KIRKBRIDE

Lord’s Prayer, Pater Noster (1926, rev. 1949). With itssimple, syllabic declamation and broad homophonicbrushstrokes, it is a world away from the angular,contrapuntal lines we traditionally associate withStravinsky. Instead, he appears to pays homage to theremembered chant-like soundworld of his upbringing –one firmly rooted in tonality, anchored towards deliveringthe text with powerful and unswerving clarity. His settingof the Ave Maria (1934, rev. 1949) followed eight yearslater, its similarly static, neo-Renaissance texturesdistinctly un-Stravinskian in their simplicity. ‘I can endureunaccompanied singing in only the most harmonicallyprimitive music’, Stravinsky later proclaimed. While bothmotets were originally written in the Russian Orthodoxdialect of Church Slavonic, in 1949, shortly after movingto America, Stravinsky recomposed and republishedthem with Latin texts to broaden their liturgical appeal.

Today’s programme is built around symmetries andreflections, both musical and structural, so it is fittingthat the second half should mirror the first with its ownintroductory brass ‘fanfare’. To most, Esa Pekka Salonen

(1958) will be more familiar as a conductor than as acomposer, but earlier in his career he had set his heart onbecoming a professional horn player. ‘I will never forget myfirst French horn lesson with Holger Fransman’, heremembers. ‘For an eleven-year old boy the great Finnishmusician and teacher was an awesome sight: an impressivemoustache and fiery eyes. He used to call me Mr Salonendespite my age, and only after I could play to the top C withsome accuracy did he suggest we start addressing eachother by first names.’ When Salonen was asked, afterFransman’s death many years later, to compose a piecefor solo horn for a memorial competition in Fransman’shonour, he agreed right away. Having spent many yearsstudiously practising concert etudes at his teacher’sinstruction, Salonen decided to write his own Concert

étude for solo horn (2000), ‘and thus create a littlehomage to my teacher, who in fact was like a grandfather tome’. While it is not a fanfare in the strict sense of theword, neither is it a practice piece in the same vein as theones Salonen mastered in his youth. It is a work both ofshowmanship and of melancholy, a piece of celebrationand a musical memorial. ‘In this piece I treat the horn as avirtuoso instrument’, says Salonen, ‘capable of acrobatics aswell as the idiomatic melodic expression. In a way, I wrotethe piece for the great horn player I never became.’

A note of commemoration also marks the Aequale No. 1

for three trombones (1847) by Anton Bruckner (1824–

1896), composed when Bruckner was just 23 as a funeralpiece for his aunt and godmother, Rosalie Mayrhofer.As a genre, the equale has a long history, but it was madefamous by Beethoven, who composed his three Equali fortrombone quartet for performance on All Soul’s Day inLinz cathedral in 1812 (they were later performed at hisown funeral in 1827). Taking its name from the ‘equal’voices for which they are written, these short piecestypically have macabre associations – composed forfunerals, memorials, or internments – and the sombrehomophony of Bruckner’s Aequale No. 1 is no exception.For Dougan, the Aequale’s mournful qualities provide abridge from the soundworld of the Salononen to the‘hyper expressive and penitential’ motets by Carlo

Gesualdo (c.1566–1613) that follow.

Notorious for violently killing his wife and her lover,before spending the last portion of his life in self-imposed isolation, Gesualdo’s music is weighed down bythe darkness of his crimes. By the time he published hisTenebrae Responsaries (1611), just two years before hisdeath, he was living in his castle at Avellino, apparently abroken and neurotic man. At his request, he receiveddaily beatings from his servants and his fixation with pain,death and emotional turmoil seems to have made its wayinto his music. His secular madgrials from this time arehighly dramatic love poems, full of death and despair,unrequited love and intense, extravagant language. Histwo volumes of sacred madrigals, which include theTenebrae Responsaries, are equally bleak. The three sets ofnine madrigals that make up his Tenebrae collection tellthe gruesome story of Jesus’ crucifixion – his trial,torture and execution – with sharp and shockingventures into hitherto unexplored harmonic territory,his free use of chromaticism and dissonance unparalleledfor its time. The two madrigals featured today are bothtaken from the second part of his Tenebrae Responsaries,intended for performance on Good Friday. Omnes amicimei (‘All my friends have forsaken me’) is as dark as its titlesuggests, its rapid modulations and sudden chromaticshifts echoing Jesus’ (and Gesualdo’s) loss of directionand despair. Betrayal is also at the centre of Vinea meaelecta: ‘My chosen vineyard, I planted you: how have youchanged into bitterness, so as to crucify me and freeBarabbas?’ What begins with homophonic clarity, itsfoundations as solid as the trees Jesus planted, quicklycrumbles and unravels – the shift set in motion by the

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word ‘conversa’ (‘changed’) and played out throughincreasingly dissonant and complex polyphony.

The startling modernity of Gesualdo’s music had apowerful effect on dozens of 20th-century composers,but perhaps none more so than Stravinsky, who wasintroduced to his music in the early 1950s by RobertCraft. Stravinsky became fascinated by Gesualdo’smadrigals, copying them out by hand and providing hisown completions to several of Gesualdo’s Tres SacraeCantiones before eventually composing his own tribute tohim in 1960, a ballet entitled Monumentum pro Gesualdo.These years marked the gradual shift in Stravinsky’s stylefrom neoclassicism to serialism and although Gesualdo’sinfluence is not yet evident in his Mass for chorus and

wind instruments (1948), the seeds of change arealready beginning to show through. Composed over aperiod of four years between 1944 and 1948, the Massbridges the divide between the populist tonality of hisSymphony of Psalms and the more esoteric atonality ofhis later years. For Stravinsky, it was designed to be afunctional work first and foremost, as he later made clearin a conversation with Evelyn Waugh: ‘My Mass was notcomposed for concert performances but for use in thechurch. It is liturgical and almost without ornament.’For this very reason, it is not performed as often inconcert as it is in services, which partly explains whyDougan chose to include it today. ‘I first sang theStravinsky mass as an undergraduate and have loved it eversince’, says Dougan. ‘When the mass is performed incathedrals and chapels, it will, most likely, be only with areduction for organ accompaniment. Hearing the full scoreis a revelation.’

The ‘full score’ is rather an unusual one: not forStravinsky a traditional orchestral accompaniment,instead his choir is accompanied by a wind ensemble,comprising oboes, cor anglais, bassoons, trumpets andtrombones. ‘For those who perform a lot of sacred music,’says Dougan, ‘the combination of this sound world in aliturgical setting remains relatively novel. Perhaps this waspart of Stravinsky’s thinking? To refresh the ears of those forwhom the text of the liturgy had become commonplace.’While its scoring is not without precedent – Schubert’sDeutsche Messe and Bruckner’s Mass No. 2 in E minorboth have wind accompaniments – Stravinsky insisted hewas ‘not influenced in my mass by any “old” music whatever,or guided by any example’. Nevertheless, there are clearparallels between Stravinsky’s own offering and those

‘rococo-operatic sweets-of-sin’ of Mozart’s he haddiscovered just a couple of years earlier. ‘For me it’sprimarily in the clarity of the textures’, explains Dougan.‘Mozart’s music rarely sounds cluttered, even when writing inmultiple parts – think of his ensemble writing in Figaro andDon Giovanni – and Stravinsky’s writing allows us to heareverything that is happening. There are technical similaritiesin places too; in the Christe, Stravinsky takes a theme whichis imitated in all voices, just as Mozart uses an imitativetheme for his Kyrie and Christe. Mozart employs a soloquartet, as was usual in a Missa Brevis, and Stravinsky againcopies this custom.’ From the florid wind writing of theGloria (‘which brings to mind echoes of the gloriousintertwining lines of the “Et incarnatus” from Mozart’sC minor mass’, says Dougan) to the Russian chantinvoked in the Credo (‘where one can immediately hearparallels with his settings of the Pater Noster and AveMaria’), Stravinsky’s Mass is both familiar and distinctive,indebted to the past while carving a new place in theliturgical repertoire. ‘I wished only to preserve the text in aspecial way’, Stravinsky claimed. ‘There is much to believe.’

Jo Kirkbride

Programme designed and typeset byHugh Hillyard-Parker, Edinburgh

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Gabrieli: Maria stabat ad monumentumMaria stabat ad monumentum foris, plorans. Dum ergo fleret, inclinavit se, et prospexit

in monumentum,Et vidit duos angelos in albis sedentes, unum ad caput, et unum ad pedes, ubi positum fuerat corpus Jesu.

Dicunt ei illi: Mulier, quid ploras? Dicit eis: Quia tulerunt Dominum meum et nescio ubi posuerunt eum.

Mozart: Missa BrevisKyrieKyrie, eleison. Christe, eleison. Kyrie, eleison.

GloriaGloria in excelsis Deo,et in terra pax hominibus bonae voluntatis.Laudamus te. Benedicimus te.Adoramus te. Glorificamus te.Gratias agimus tibi propter magnam gloriam tuam.Domine Deus, Rex coelestis,Deus Pater omnipotens,Domine Fili unigenite, Iesu Christe;Domine Deus, Agnus Dei, Filius Patris:qui tollis peccata mundi,

miserere nobis;qui tollis peccata mundi,

suscipe deprecationem nostram;qui sedes ad dexteram Patris,

miserere nobis.Quoniam tu solus Sanctus,tu solus Dominus,tu solus Altissimus, Iesu Christe.Cum Sancto Spiritu in gloria Dei Patris.Amen.

CredoCredo in unum Deum, Patrem omnipotentem, factorem

coeli et terrae, visibilium omnium, et invisibilium.Et in unum Dominum Iesum Christum Filium Dei

unigenitum.Et ex Patre natum ante omnia saecula.Deum de Deo, lumen de lumine, Deum verum

de Deo vero.Genitum, non factum, consubstantialem Patri:

per quem onmia facta sunt.Qui propter nos homines et propter nostram salutem

descendit de coelis.

TEXTS AND TRANSLATIONS

Mary was standing outside at the tomb weeping. So, as she wept, she stooped and looked into the tomb,And she saw two angels in white sitting, one at the head, and one at the feet, where the body of Jesus had lain.

They said, "Woman, why are you weeping?" She said to them, "Because they have taken away

my Lord, and I don't know where they have laid him."

KyrieLord, have mercy. Christ, have mercy. Lord, have mercy.

GloriaGlory to God in the highestAnd on earth peace to men of goodwill.We praise You. We bless You.We adore you. We glorify You.We give you thanks for Your great glory.Lord God, Heavenly King,Almighty God the Father,Lord Jesus Christ, only Son of the Father;Lord God, Lamb of God, Son of the Father,You take away the sins of the world;

have mercy on us;You take away the sins of the world;

receive our prayer;You sit at the right hand of the Father;

have mercy on us.For you alone are holy,You alone are the Lord,You alone are the Most High, Jesus Christ,with the Holy Spirit, in the glory of God the Father.Amen.

CredoI believe in one God, the Father, the Almighty, maker of

heaven and earth, of all that is seen and unseen.I believe in one Lord Jesus Christ,

the only Son of God,eternally begotten of the Father.God from God, Light from Light, True God from true

God;begotten, not made; of one being with the Father;

through Him all things were made.For us men, and for our salvation, He came down

from heaven;

by the power of the Holy Spirit He became incarnatefrom the Virgin Mary and was made man.

for our sake He was crucified under Pontius Pilate, He suffered death and was buried.

On the third day He rose again in accordance with theScriptures;

He ascended into heaven, and is seated at the right handof the Father.

He shall come again in glory to judge both the livingand dead,

and His kingdom shall have no end.I believe in the Holy Spirit, the Lord, the giver of life,Who proceeds from the Father and the Son;with the Father and the Son He is worshipped and

glorified;He has spoken through the prophets.I believe in one holy, catholic and apostolic Church,I acknowledge one baptism for the forgiveness of sins,and I look for the resurrection of the dead,And the life of the world to come. Amen.

SanctusHoly, holy, holy Lord, God of power and might;Heaven and earth are full of your glory.Hosanna in the highest.

BenedictusBlessed is he who comes in the name of the Lord.Hosanna in the highest.

Agnus DeiLamb of God, you take away the sins of the world;

have mercy on us.Lamb of God, you take away the sins of the world;

grant us peace.

Our Father, who art in heaven;Hallowed be thy name;Thy kingdom come;Thy will be doneOn Earth as it is in Heaven.Give us this day our daily bread;Forgive us our trespasses,As we forgive those who trespass against us;And lead us not into temptation;But deliver us from evil.Amen.

Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est.

Crucifixus etiam pro nobis: sub Pontio Pilato passus, et sepultus est.

Et resurrexit tertia die, secundum Scripturas.

Et ascendit in coelum: sedet ad dexteram Patris.

Et iterum venturus est cum gloria judicare vivoset mortuos:

cujus regni non erit finis.Et in Spiritum Sanctum, Dominum et vivificantem:qui ex Patre Filioque procedit.Qui cum Patre et Filio simul adoratur

et conglorificatur:qui locutus est per Prophetas.Et unam sanctam catholicam et apostlicam Ecclesiam.Confiteor unum baptisma in remissionem peccatorum.Et exspecto resurrectionem mortuorum.Et vitam venturi saeculi. Amen.

SanctusSanctus, Sanctus, Sanctus Dominus Deus Sabaoth:Pleni sunt caeli et terra gloria tua.Hosanna in excelsis.

BenedictusBenedictus quit venit in nomine Domini:Hosanna in excelsis.

Agnus DeiAgnus Dei, qui tollis peccata mundi,

miserere nobis.Agnus Dei, qui tollis peccata mundi,

dona nobis pacem.

Stravinsky: Pater Noster

Pater noster, qui es in cælis,Sanctificetur nomen tuum,Adveniat regnum tuum,Fiat voluntas tua,Sicut in cælo et in terra.Panem nostrum quotidianum da nobis hodie,Et dimitte nobis debita nostra,Sicut et nos dimittimus debitoribus nostris.Et ne nos inducas in tentationem,Sed libera nos a malo.Amen.

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Hail Mary, full of grace, the Lord is with thee.Blessed art thou among women,and blessed is the fruit of thy womb, Jesus.Holy Mary, Mother of God,pray for us sinners,now and in the hour of our death. Amen.

Omnes amici meiResponsory:All my friends have deserted me,And plotters have prevailed over me.He whom I loved has betrayed me.And with fierce looks and cruel blowsthey gave me vinegar to drink.

Verse:They cast me among the wickedand did not spare my soul.And with fierce looks and cruel blowsthey gave me vinegar to drink.

O vineyard, my chosen oneO vineyard, my chosen one. I planted thee. How is thy sweetness turned into bitterness, to crucify me and take Barabbas in my place?

I protected thee; I took the hard stones away from thy path,and built a tower in thy defence.

Stravinsky: Ave Maria

Ave Maria, gratia plena, Dominus tecum.Benedicta tu in mulieribus,et benedictus fructus ventris tui, Iesus.Sancta Maria, Mater Dei,ora pro nobis peccatoribus,nunc et in hora mortis nostrae. Amen.

Gesualdo: Two movements from TenebraeResponsaries for Good Friday

Omnes amici meiResponsorium:Omnes amici mei dereliquerunt me,et praevaluerunt insidiantes mihi:tradidit me, quem diligebam.Et terribilibus oculis plaga crudeli percutiensaceto potabant me.

Versus:Inter iniquos projecerunt me et non pepercerunt animae meae.Et terribilibus oculis plaga crudeli percutiensaceto potabant me.

Vinea mea electaVinea mea electa, ego te plantavi: quomodo conversa es in amaritudinem, ut me crucifigures et Barrabbam dimitteres.

Sepivi te, et lapides elegi ex te, et ædificavi turrim.

Stravinsky: Mass

See Missa Brevis text on pages 6–7.

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BRITTEN SINFONIA VOICESBRITTEN SINFONIA

ON STAGE TONIGHT

VIOLIN IThomas Gould

VIOLIN 2Nicola Goldscheider

CELLOCaroline Dearnley

DOUBLE BASSRoger Linley

OBOESNicholas DanielAdrian Rowlands

COR ANGLAISEmma Feilding

BASSOONSSarah BurnettEmma Harding

TRUMPETSPaul ArchibaldShane Brennan

ALTO TROMBONEMichael Buchanan

TROMBONESMichael BuchananBecky Smith

BASS TROMBONEJoe Arnold

ORGANCatherine Edwards

SOPRANOEmma Tring Rebecca LeaElspeth Pygott Lisa Beckley Susan Gilmour Bailey Alice Gribbin

ALTOCiara Hendrick Lucy Goddard Ksynia Loeffler Cathy Bell

TENORTom Chapman Mark Bonney Tom BrookeDaniel Auchincloss

BASSTim Dickinson Jon Stainsby Ben Rowarth Robert Evans

SOLOISTS:Soprano Emma TringAlto Ciara HendrickTenor Daniel AuchinclossTenor Tom Chapman (Stravinsky only)Bass Tim Dickinson

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BRITTEN SINFONIA VOICES

Britten Sinfonia Voices is a professional vocal ensemblethat reflects the artistic vision and range of one ofEurope’s leading chamber orchestras, Britten Sinfonia.

Britten Sinfonia Voices is made up of some of the finestprofessional voices – both emerging talent andexperienced singers – a combination in keeping withBritten Sinfonia’s ethos. The group is equally adept atperforming repertoire from the Baroque to the latest newmusic and is directed by the acclaimed choral conductorand singer, Eamonn Dougan, who carefully selects andprepares the Voices for each project. They haveperformed a range of works including Mendelssohn’sElijah, L’enfance du Christ by Berlioz and premiered newworks by Nico, Muhly, Ēriks Ešenvalds and JamesMacMillan, under conductors including Sir Mark Elder,David Hill and Andreas Delfs amongst others.

During 2013–14 Britten Sinfonia Voices performedconcerts celebrating Harrison Birtwistle’s 80th birthdayand toured Bach’s St John Passion to venues includingLondon’s Barbican Centre and the AmsterdamConcertgebouw. They also made their debut at WigmoreHall in a new work by Roderick Williams as part of BrittenSinfonia’s award winning At Lunch series.

Phot

o ©

Ben

Ealo

vega

Recent seasons have included a US tour of Netia Jones’acclaimed production of Curlew River which also receiveda concert performance at Hamburg’s Elbphilharmonie,the London premiere of James MacMillan’s St LukePassion, and appearances in London’s Barbican Hall forHandel’s Messiah, MacMillan’s Seven Last Words from theCross and Steve Reich’s remarkable Desert Music,broadcast live on BBC Radio 3. In 2017 they toured withBritten Sinfonia and Mark Padmore in acclaimedperformances of Bach’s St John Passion

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performance’ – BBC Music Magazine). Subsequent discsin the series include The Blossoming Vine, music byGorczycki, and Helper and Protector. The fifth disc,music by Marcin Mielczewski, is due for release in lateSeptember 2017.

In 2008 Eamonn was appointed a Visiting Professor tothe Guildhall School of Music and Drama, London, wherehe teaches ensemble singing and directs the GuildhallConsort; he is Music Director for the Thomas TallisSociety. Eamonn read music at New College, Oxford,before continuing his vocal and conducting studies at theGuildhall School of Music and Drama. Eamonn Douganis managed worldwide by Percius. www.percius.co.uk

Eamonn Dougan is an inspirational conductor andrenowned baritone. He is Associate Conductor ofThe Sixteen and founding Director of Britten SinfoniaVoices. Informed by his singing, Eamonn is an engagingcommunicator with a particular passion for Bach, theFrench Baroque, and 16th- and 20th-century Englishrepertoire.

Forthcoming conducting engagements include concertsand broadcasts with the BBC Singers, a tour of Belgiumwith The Sixteen, a tour of France with renownedensemble Accentus, and continued work educatingchoral groups across the world including conducting hisown Thomas Tallis Society and Genesis Sixteen.Eamonn’s work with Sir James MacMillan and James’sCumnock Tryst Festival continues as he returns toconduct the chorus for Mozart’s Coronation Mass, in2018 he’ll conduct a special MacMillan premierecomposed for the Tryst’s fifth anniversary.

Dougan recently conducted Mozart’s La finta giardinieraat the Ryedale Festival with The Orchestra of the Age ofEnlightenment Experience Ensemble (‘He kept them righton the ball’ – York Press). He has directed manyorchestras and choirs including BBC Singers, Accentus(Paris), Opera Rara, Trondheim Barokk, WroclawPhilharmonic Choir (Poland), Orchestra of the Age ofEnlightenment, Royal Northern Sinfonia, Irish BaroqueOrchestra and Coro de la Comunidad (Madrid).Highlights of 2016 included curating and conducting at‘A Weekend of Excessively Good Taste’ (FrenchBaroque) at King’s Place, London.

With the Britten Sinfonia Voices he has conductedseveral world premieres including Sir John Tavener’sFlood of Beauty, Esenvalds’ Aqua, Nico Muhly’s LookingForward for the Britten Sinfonia’s 20th birthday and thechoral premiere of Jóhann Jóhannsson’s Orphée at theBarbican. Other projects with the Britten Sinfonia haveincluded Bach St John Passion, MacMillan St Luke Passionand Seven Last Words, Britten Curlew River, BirtwistleYan Tan Tethera, and Possibly Colliding: Session Six. He hasassisted various conductors including Sir JamesMacMillan, Martyn Brabbins, Andreas Delfs, AdamFischer and Sir Mark Elder.

Eamonn has a highly successful five-disc Polish Baroqueseries with The Sixteen. The first disc, music byBartlomiej Pekiel, was met with widespread criticalacclaim and was shortlisted for a Gramophone Award(‘Richly dramatic’ – The Observer; ‘A delightful

EAMONN DOUGAN

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BRITTEN SINFONIA ONLINE

Join us outside the concert hall to share yourthoughts on the performance and stay up to datewith the latest Britten Sinfonia news. For videos,podcasts, recordings, news stories and links to ourblog visit www.brittensinfonia.com or follow oursocial media pages.

/brittensinf

@BrittenSinfonia

@brittensinfonia1

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Ben is grateful for guidance and advice from YoungClassical Artists Trust, and for awards from the DorothyCroft Trust for Young Musicians, Awards for YoungMusicians, June Emerson Wind Music and the EMIMusic Sound Foundation.

Since reaching the Final of the BBC Young MusicianCompetition in 2016, Ben has made his concerto debutat venues including the Berlin Philharmonie, KKLLucerne, Barbican and the Royal Albert Hall, appearingas soloist with the BBC Symphony, Lucerne Symphonyand Aurora Orchestras, among others. He releases hisdebut CD with Willowhayne Records in early 2018,including works by Schumann, York Bowen and Esa-Pekka Salonen.

Ben is the only student of Radek Baborák at theBarenboim-Said Academy in Berlin, following studieswith Susan Dent at the Royal College of Music JuniorDepartment and as a Jungstudent with Marie-LuiseNeunecker at the Hochschule für Musik ‘Hanns EislerBerlin’. This season he gives recitals at festivals andvenues throughout the UK and further afield, andperforms concertos by Pauer, Penderecki, Bowen,Telemann, Weber and Mozart. A committed chambermusician, he joins Julian Prégardien and ChristophSchnackertz as part of the main series at Wigmore Hall,Daniel Barenboim and Michael Barenboim to performAlexander Goehr’s Horn Trio in the Pierre Boulez Saal,and Sergei Babayan at the Verbier Festival. Bencollaborates regularly with musicians including RichardUttley, Callum Smart, Denis Kozhukhin and GiuseppeGuarrera. Sought-after as an orchestral player, Ben hasperformed as guest with the Staatskapelle Berlin,Philharmonia, English Chamber and West-Eastern DivanOrchestras.

Ben has been invited to participate in the InternationalMusic Academy for Soloists (Bückeburg Palace,Germany) and the International Summer Academy forWind Soloists (Payerbach, Austria). Prizes include the2016 Philip Jones Memorial Prize at the Royal OverseasLeague Annual Music Competition and the CoxMemorial Prize and Audience Prize at the EastbourneSymphony Orchestra Young Soloist Competition.In 2012, he was the youngest participant in the LondonSymphony Orchestra Brass Academy, and as principalhorn of the National Youth Orchestra of Great Britain,he was awarded the John Fletcher Brass Prize for hiscontribution to the orchestra. Ben has performed live onBBC Radio 3 In Tune, and was recently interviewed for aspecial feature in the Mail on Sunday.

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£25 FOR 25 YEARS

Britten Sinfonia celebrates its 25th birthday this season. In just 25 years of existence, we havegiven more than 1,500 concerts, been heard by over half a million people in 25 countries andcommissioned over 300 new works. We have also made 36 recordings and worked with 125,000participants through our Creative Learning programme.

To ensure we can continue making trailblazing music we are asking music lovers to give a £25birthday donation to the orchestra. Britten Sinfonia gratefully acknowledges the support of thefollowing donors to the £25 for 25 years campaign:

Visit brittensinfonia.com for details of how to donate to the £25 for 25 years campaign and your name will feature in all our programmes for the rest of the season.

Paul AllattGeoff AndrewDame Mary ArcherEdward Baden-PowellJonathan & Clare BarclaySally BeamishDame Gillian BeerJerome BoothMeurig BowenJanet BrealeyNicholas BrealeyRichard BridgeAnthony & Barbara ButcherDavid Butcher Joanne ButcherMartin ChapmanHarry Christophers CBEStephen Cleobury CBEKieran CooperJane CraxtonDennis DavisJim DurrantHelen Egford Liz ForganSally & Michael FowlerTim FoxonSarah Garnier

Anonymous donation inmemory of Julian Gardner

Stephen Green & Clare Wilson

Jonathan GrovesSally GrovesRichard HalseyRob Hammond

& Charlotte SankeyDuncan Hannay-RobertsonNick & Penny HeathKen HeskethHugh Hillyard-ParkerWaltraud & Richard JarroldMark JeffriesRichard KeelingGhislaine KenyonLady Mary KittyMark LittleMeredith Lloyd-EvansLynsey MarshProf Timothy MathewsColin MatthewsLouise MitchellHeather Newill Tarik O'ReganKarys Orman

Stefan PaetkeMaggie PaykelMatteo PizzoRuth RattenburyCharles Rawlinson MBE

& Jill RawlinsonTim RedmondPeter RenshawClark & Kathy RundellAnne & James RushtonKate SandarsIn memory of Hans SandersJohn SimsStephen J. Smith OBEDaniel Spindel & Emma AdamsJohn Stephens Robert StopfordM & A TaylorAlan TongueColin & Elizabeth TraverseAndrew & Rosemary TusaRoderick & Miranda WilliamsSir Rob & Lady Young

38 anonymous donors

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Now in its 25th anniversary season, Britten Sinfonia isone of the world’s most celebrated and pioneeringensembles. The orchestra is acclaimed for its virtuosomusicianship, an inspired approach to concertprogramming which makes bold, intelligent connectionsacross 400 years of repertoire, and a versatility that issecond to none. Britten Sinfonia breaks the mould by nothaving a principal conductor or director, instead choosingto collaborate with a range of the finest internationalguest artists from across the musical spectrum, resultingin performances of rare insight and energy.

Britten Sinfonia is an Associate Ensemble at theBarbican in London, has residencies across the east ofEngland in Norwich, Cambridge (where it is anEnsemble-in-Residence at the University) and SaffronWalden, where the orchestra became ResidentOrchestra at Saffron Hall in Autumn 2016. Theorchestra also performs a chamber music series atWigmore Hall and appears regularly at major UK festivalsincluding the Aldeburgh Festival and BBC Proms. Theorchestra’s growing international profile includes regulartouring to North and South America and Europe. Theorchestra made its debut in China in May 2016 with athree-concert residency in Shanghai, as well asperformances in Beijing and Wuhan.

Founded in 1992, the orchestra is inspired by the ethosof Benjamin Britten through world-class performances,illuminating and distinctive programmes where old meetsnew, and a deep commitment to bringing outstandingmusic to both the world’s finest concert halls and thelocal community. Britten Sinfonia is a BBC Radio 3broadcast partner and regularly records for HarmoniaMundi and Hyperion.

In 2017–18, Britten Sinfonia collaborates with artistsincluding Thomas Adès, Sir Mark Elder, Jeremy Denk,Cambridge’s King’s College Choir, Elizabeth Kulman,Nicolas Hodges and Ailish Tynan, with premieres fromcomposers including Mark-Anthony Turnage, Emma-Ruth Richards, Leo Chadburn and Nik Bärtsch.Following UK performances, many of thesecollaborations will tour internationally with performancesin some of the world’s finest concert halls. In 2018 theorchestra will perform for the second time at thePhilharmonie in Paris, and will make its debut at TheSistine Chapel, Vatican City.

Central to Britten Sinfonia’s artistic programmes is awide range of creative learning projects within bothschools and the community including the talented youthensemble Britten Sinfonia Academy and annualcomposition competition, OPUS, offering unpublishedcomposers the chance to receive a professionalcommission.

In 2013 Britten Sinfonia was awarded the RoyalPhilharmonic Society Music Award for Ensemble havingpreviously won the Chamber Music Award in 2009 andthe Ensemble Award in 2007. Britten Sinfoniarecordings have been Grammy nominated, received aGramophone Award and two ECHO/Klassik RecordingAwards, and most recently were awarded a BBC MusicMagazine Award for its recording of James MacMillan’sOboe Concerto. In 2014 Britten Sinfonia was nominatedfor an Olivier Award for its collaboration with theRichard Alston Dance Company.

Britten Sinfonia keep reinventingthe chamber orchestra.

The Telegraph 2016”“

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BRITTEN SINFONIA

FIRST VIOLINS Thomas Gould Leader

Supported by Charles Rawlinson MBE & Jill Rawlinson

Jacqueline Shave LeaderSupported by John & Jilly Wreford

Marcus Barcham Stevens Co-LeaderSupported by Barry & Ann Scrutton

Róisín WaltersClara BissRuth EhrlichMartin Gwilym-JonesBeatrix Lovejoy

Supported by Sir Rob & Lady YoungFiona McCapraKatherine Shave

SECOND VIOLINSMiranda Dale

Supported byMr & Mrs Donagh O’Sullivan

Nicola Goldscheider Supported by Andrew & Rosemary Tusa

Alexandra CaldonSupported by Patrick Meehan

Anna BradleyMarcus BroomeJudith KellySuzanne Loze

VIOLASClare Finnimore

Supported by Michael & Penelope GaineVacancy*Bridget Carey

Supported by Jen Gilchrist Rachel Byrt

CELLOSCaroline Dearnley

Supported by Jonathan & Clare BarclayBenjamin Chappell

Supported by Sir Rob & Lady YoungJoy HawleyJulia Vohralik

Supported by an anonymous donor

DOUBLE BASSESStephen Williams

Supported by Dr & Mrs Jerome BoothRoger Linley

*Trials in progress

FLUTESEmer McDonough

Supported by Delia BrokeSarah O’Flynn

OBOESNicholas Daniel

Supported by John Stephens OBEEmma Feilding

CLARINETSJoy Farrall

Supported by Andrew & Jane SuttonVacancy*

BASSOONSSarah Burnett

Supported by Robert & Margaret MairSimon Couzens

HORNSMartin Owen

Supported by Dame Mary Archer DBETom RumsbyAlex Wide

TRUMPETPaul Archibald

Supported by Jeffrey Archer

TIMPANIWilliam Lockhart

Supported by Stephen & Stephanie Bourne

HARPLucy Wakeford

Supported by Richard & Fiona Walford

PIANOHuw Watkins

Supported by Barbara & Michael Gwinnell

HARPSICHORDMaggie Cole

Supported by Roger Bamber

BRITTEN SINFONIA VOICESDIRECTOREamonn Dougan

MANAGEMENT

David Butcher, Chief Executive &Artistic Director

Supported by Hamish & Sophie ForsythNikola White, Artistic Planning DirectorJames Calver, Concerts DirectorHannah Bates, Orchestra Personnel

ManagerHazel Terry, Concerts & Tours ManagerAlex Rickells, Concerts AssistantSarah Rennix, Creative Learning

DirectorMegan De Garis, Creative Learning

Co-ordinatorElaine Rust, Finance ManagerNick Brealey, Development DirectorStephen Wilkinson, Development

AssistantClaire Bowdler, Marketing DirectorMilly March, Marketing AssistantSophie Cohen, National Press & PR

Agent

TRUSTEES

Chairman Dr Jerome BoothDame Mary Archer DBEHamish ForsythDr Andy HarterJanis Susskind OBEBill Thompson

ADVISORY COUNCIL Jonathan BarclayCharles BarringtonStephen BourneDr Nigel W Brown OBEGermaine GreerMargaret MairCharles Rawlinson MBEProf John RinkJudith Serota OBEStephen Smith OBEJohn Stephens OBEJohn SummersFiona TalkingtonProf Michael ThorneSir John TusaJohn WoolrichJohn Wreford

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TRUSTS & FOUNDATIONSAaron Copland FundBarbara Whatmore Charitable TrustD’Oyly Carte Charitable TrustFenton Arts TrustGarrick Charitable TrustHeadley TrustJohn Thaw FoundationKirby Laing FoundationMarchus TrustMarsh Christian TrustMichael Tippett Musical FoundationPaul Bassham Charitable TrustQuercus TrustSimon Gibson Charitable TrustThriplow Charitable Trust and other anonymous partners

Britten Sinfonia is proud to acknowledgethe support of numerous individuals, trustsand foundations, corporate partners andpublic funders who enable us to playoutstanding concerts to audiences acrossthe UK and the rest of the world.

Everything we do – each and everyconcert, project, collaboration andpartnership – benefits from the vision andgenerosity of all those listed and those whowish to remain anonymous.

For more information about giving to yourorchestra, please contact theDevelopment Team on 01223 558501 oremail support@brittensinfonia.com

PRINCIPAL FUNDER

PUBLIC FUNDERS & PARTNERSCambridgeshire Music PartnershipNorfolk & Norwich Festival BridgeNorfolk Music HubPeterborough Music PartnershipRoyal Opera House BridgeVivacity

SINFONIA CIRCLEAcademyDr Claire Barlow & Prof Jim WoodhouseJohn LebusBarry & Ann ScruttonCommissionsHamish & Sophie ForsythMeredith Lloyd-EvansConcertsDame Mary Archer DBEHamish & Sophie ForsythBarbara & Michael GwinnellCharles Rawlinson MBE & Jill RawlinsonTwo anonymous donorsCoreDr & Mrs Jerome BoothTwo anonymous donorsRecordingsRobin Boyle

ORCHESTRA CHAIR PARTNERSGillian & John BeerSir Richard & Lady DearloveRoger & Susan MayRonald MillanJohn & Penelope RobsonDr Peter Stephenson

THANK YOU FRIENDSClive & Elizabeth BandyGillian & John BeerSir Alan Bowness CBES BradfieldJanet BrealeySheila BrownTim Brown Sue & Tim BurtonAnthony & Barbara ButcherPaul Cartledge & Judith PortraitJ CeybirdRobert Clark & Susan CostelloGeoffrey CollensAnn CurranKelly DicksonCaroline Dixey Andrew DuffShirley EllisSally & Michael FowlerSarah GarnierStephen Green & Clare WilsonColin & Vivienne GreenhalghNorman Greenhill Roy HallRob Hammond & Charlotte SankeyDavina HampsonMaureen HankePeter & Cynthia HardyRuth HarmerNick & Penny HeathMike HolleyRichard HopkinSarah Knights & Tony BarnettProf Angela LeightonAnna & Alistair LippSusan MaddockPauline MantrippMichael & Patricia McLaren-TurnerKaarina MeyerRod MillsHoward PhillipsJim PotterColin PurdomSusan PykeJudith RattenburyRuth RattenburyMargaret RoweRoger RoweDr Paul SackinJohn SennittRoderick & Thelma ShawGraham ShorterStephen Smith OBEMary Anne SutherlandColin & Elisabeth TraverseChristine & Peter WallMichael WallisGerald & Janet WatsonColin WillisCarolyn WingfieldOne gift in honour of Miranda Dale’s

musicianship23 anonymous donors