High Sheriff's Concert Programme.pdf - Milton Keynes City Orchestra

2010 - 2011 SeasonThe City’s own...Milton KeynesCity OrchestraGreat Musiclive.

Milton Keynes TheatreThursday 20th January 2011 - 7.30pmThe High Sheriff ’s ConcertOverture: The Naiads Sterndale BennettViolin Concerto, Op. 64, E minor MendelssohnINTERVALConcerto GrossoPre concert talk with Adrian Boynton at 6.30pm in the auditorium.Vaughan WilliamsThis piece will feature young musicians performing ‘Side by Side’ in collaboration with Milton Keynes Music ServiceSymphony no. 4, Op. 120, D minorConductorSoloistPlease noteMilton Keynes City Orchestra reserves the right tomake changes to the advertised programme ofperformers as necessary.The management reserves the right to refuseadmission. Smoking is not permitted in the auditorium,nor is the use of camera and recording equipment.Glasses may not be taken into the auditorium.Latecomers will not be admitted until a suitable breakin the performance. The public may leave at the end ofthe performance by all exit doors and such doors mustbe at all times kept open. Sitting or standing ingangways is not permitted. All stairways, exits andpassageways must be kept free of obstruction.The theatre is fitted with an infra red system for peoplewith impaired hearing. To use this service please collecta headset from the kiosk. A £5 deposit is required.SchumannHilary Davan WettonSimone PorterThis work has been assisted by funding fromMilton Keynes Community FoundationFor booking and information call : 01908 558311 71 1

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Welcome“It is with a great sense of anticipation that Iwelcome you to the High Sheriff’s Concert.We have a stunning programme opening withSterndale Bennett’s Overture to the Naiads. SterndaleBennett was influenced by Mendelssohn whose ViolinConcerto we are hearing next, played by theprodigiously talented fifteen year old Simone Porter. Ifever there was inspiration for the young people of theMilton Keynes Music Service, this must be it. HilaryDavan Wetton has embraced the concept of a “side byside” concert and chosen the Vaughan WilliamsConcerto Grosso for the children to experience playingwith a professional orchestra. This work for stringorchestra, composed for the Rural Schools MusicAssociation is unique in that the orchestra is split intothree sections based on skill. Thus the children tonighthave been able to take part according to their ownlevel of skill. They have been working on the musicsince the start of this academic year and will I hopefeel the true excitement and sense of achievement thatsuch an opportunity gives.The programme concludes with the wonderfulSchumann symphony no 4.I am indebted to Milton Keynes City Orchestra, and toHilary Davan Wetton for supporting this project anddelighted that the concert is launching the 25thanniversary celebrations of the Milton KeynesCommunity Foundation.Elizabeth Howe,High Sheriff of Buckinghamshire“The MK CommunityFoundation is theleading grant-makingcharity working for andat the heart of MiltonKeynes. We havebeen awarding grantsand providing property subsidies to our essentialvoluntary sector for the last 25 years.We are delighted to have been working withCountess Howe this year, who in her role asHigh Sheriff is a Vice President of our charity.We admire her true belief in supporting thecommunity. We are delighted to have given agrant from her Fund with us, to create musicalopportunities for local children to take part in thisside by side concert.For booking and information call : 01908 558311 3

Overture: The NaiadsWilliam Sterndale Bennett 1816-1875To most students of nineteenth-century music, William Sterndale Bennett is not much more than a name. It is a name thatoccurs prominently in the career and writings of Robert Schumann, who for a number of years spoke of Bennett as ‘one ofthe brighter lights of the current musical scene’. For a long time Bennett’s music was almost inaccessible, but in recent yearsthere has been a notable revival of interest; a good deal of his music has been re-published and performed.He was clearly well respected by his contemporaries abroad for Mendelssohn wrote from Berlin in 1843 in support ofSterndale Bennett’s candidature for the Chair of Music at Edinburgh; ‘Your overtures, your concertos, your vocal as well asinstrumental compositions are reckoned by our best and severest authorities among the first standard works of the presentmusical period.’ This may come as a surprise to many who believe that there were no significant English composers betweenPurcell and Elgar. In Schumann’s view Bennett’s ‘genius’ (Schumann’s word) was for instrumental music. However, duringthe last 30 years of his life he could hardly have been considered a composer at all. At the age of 28, wishing to start a familybut unwilling to settle in Germany, the only country that recognised him for the brilliant virtuoso and composer which he thenwas, he returned to England and the daily drudgery of piano teaching: the creative instinct was slowly ground out of him.However, they were not wasted years; he rescued The Royal Academy of Music, reformed the curriculum at CambridgeUniversity, saved the Philharmonic Society from disaster, pioneered the Bach revival, and generally planted the seed whichproduced our 20 th century musical harvest.But it was when he was a young man that his piano playing (‘full of soul and fire’ according to Ferdinand Hiller) took Leipzigand Kassel by storm, and most of his important orchestral works, with or without piano, were written.Bennett was born in 1816 in Sheffield where his father was organist of the parish church. He was orphaned at the age of3 and brought up in Cambridge by his grandfather. He studied piano, violin and composition at the Royal Academy of Music.He made his debut in London at the age of 16 as soloist in his own First Piano Concerto. This work already contained someof his favourite orchestral colours such as solo horn, cellos in their upper register, and pizzicato strings.The overture The Naiads was written in 1836 following a trip up the Rhine from Düsseldorf to Mainz. It so impressed thefirm of Broadwood and Sons that they offered the composer a year in Leipzig. The overture was first performed in Londonwhilst Bennett was in Leipzig, and in his diary he wrote on 20 th January 1837 ‘Tonight I believe they play my Overture‘Naides’[sic] at the Philharmonic in London. Trial night for the new compositions. Well, good luck to it. I like it better thananything I have written’. So tonight, it is being performed exactly 174 years later! It was then performed at a Gewandhausconcert on the 13 February 1837 conducted by the composer himself. It is a delicate work and considered among some ofthe best of Sterndale Bennett’s compositions. © IGS 20104Violin Concerto, Op. 64, E minorFelix Mendelssohn 1809-1847Allegro molto appassionato – Andante – Allegretto ma non troppo – Allegro molto vivaceMendelssohn was greatly respected for many qualities – his very full life was spent in composing, performing, conducting,teaching and editing music. A prolific composer, whose work was in great demand, he established and developedtechniques, forms and styles, which were emulated by his successors. He travelled extensively, spending time in Englandand Scotland where he found ideas for many of his compositions.One of Mendelssohn’s greatest achievements was his rediscovery and performance of Bach’s music, especially the ‘St.Matthew Passion’. Mendelssohn, through enormous enthusiasm and effort restored this great composer to his rightfulplace in history – indeed he spent much of his time editing Bach’s music.It is true to say that Mendelssohn really ended the ‘Classical’ concerto, as it was known in his time, by allowing theorchestra and soloist to share a simple exposition rather than mutually exclude the other by excessive domination.This lovely and popular violin concerto was completed late in 1844. It is the third and last of his major concertos, theGreat Music LIVE. Single ticket prices: £32, £28, £23, £19, £14, £10

other two being for piano, and represents the culmination of his latter period of composition. The laborious task of writingthe concerto was undertaken after consultation with the violinist Ferdinand David who gave the first performance in Leipzigin March 1845.The first movement form is crystal clear. A very short introduction of a bar and a half allows the soloist to introduce thefirst subject written “entirely on the E string” (of which Mendelssohn was very proud). A transition leads to the secondsubject which is magnificently scored with clarinets above the flutes, and the development section is introduced byorchestral trills and succeeded by and beautiful written-out cadenza rather than the extemporised cadenza so easily ableto mar the composer’s intentions. An unusual feature of the pedal note links the first and second movements deprivingthe audiences of the day the opportunity to applaud after each movement. The movement is in ternary form, the firstsection reposeful and the second more agitated.The very brief third movement of only fourteen bars is a magical preface to the ebullience of the finale. The main subjectis a dancing theme which recaptures the feeling of Mendelssohn’s earlier years, and in a marvellously inventive way bringsthe work to its joyous conclusion. © IGS 2003Concerto Grosso for StringsRalphVaughan Williams 1872-19581. Intrada2. Burlesca Ostinata3. Sarabande4. Scherzo5. March and reprise (the reprise is of the opening Intrada)Born in 1872, Vaughan Williams came from an affluent middle class background. He was related to Josiah Wedgwoodand to Charles Darwin. He studied at the Royal College of Music and Trinity College Cambridge as well as with Max Bruchin Berlin. He spent time researching English folk music, which he absorbed and transformed into a new basis for 20 thcentury English Music.The Rural Schools Music Association was a movement founded in 1929 by Mary Ibberson, a Quaker, to encourage musicaleducation in country towns and villages; this was before the days of Education Authority-provided peripatetic teachers.Beginning on a modest scale in Hertfordshire, the movement spread throughout England and became a powerful forcein musical education. For the twenty-first anniversary of the Association, Vaughan Williams was asked to provide acelebratory work and the Concerto Grosso was the result.The composer divided his orchestra into three groups: 1. Concertino; skilled players. 2. Tutti; all those who can play in thethird position and perform simple double-stopping. 3. Ad lib; for less experienced players. There are even parts for “thoseplayers who prefer to use only open strings.”I. Intrada: A dramatic theme that features heavy string writingII. Burlesca Ostinata: A sprightly movement making brilliant use of perfect fifths to allow the “Ad Lib” players (who canonly play open strings, tuned in intervals of perfect fifths) to play the theme.III. Sarabande: A slow movement in triple time as indicated by the movement’s nameIV. Scherzo: An energetic but lyrical short scherzo and a small codaV. March and Reprise: A very lively march with much syncopation, leading seamlessly into a full reprise of the firstmovement.The first performance was given by more than 400 Rural Music pupils (the majority of them “ad lib”) in the Royal AlbertHall on 18th November 1950 with Sir Adrian Boult conducting. The concert was attended by Princess Elizabeth, soon tobecome Queen Elizabeth II. Vaughan Williams declined a seat in the Royal Box preferring to sit among the second violins“to see how they’re getting on.” © IGS 2010For booking and information call : 01908 558311 55

Symphony no. 4, Op. 120, D minorRobert Schumann 1810-1856Ziemlich langsam; Lebhaft (rather slow; lively) – Romanze (Romance) – Lebhaft (lively) – Langsam;Lebhaft (Slow; lively)In many ways Schumann, the anniversary of the birth of whom we celebrated last year, represents the quintessentialRomantic composer, with his emphasis on self-expression, his strong vein of lyricism, and his interest in extra-musical(especially literary) associations. His contributions are of particular importance in the areas of piano music and song, buthe wrote a significant amount of other music, including four symphonies.Robert was the fifth and youngest child of August and Johanna Schumann. Initially he displayed no particular talent butby the age of 12 he had composed his first work having heard a particularly influential piano recital by Moscheles andhaving been taken to ‘The Magic Flute’. He developed fast as a pianist and at the same time showed equal literary ability.And so also his composing career took off. However, when Schumann is mentioned most people will initially think ofCarnaval or Dichterliebe and not his symphonies. Some of Schumann’s critics maintain that Schumann wrote ‘good musicbut poor symphonies’. They do not deny him genius but they do deny him ‘symphonism’. In general his critics aim at twopoints: first, Schumann’s style was essentially lyric rather than epic; and second, that he was a bad orchestrator. However,if you are content to forget about development and orchestration and to listen to a man pouring out his heart to his listenerthen you may not admire these works as symphonies, but you will love them as music.In fact the symphonies were written in a different order from that of their publication. They were written in the order 1, 4,2, 3: so tonight’s symphony was in fact the second written. However Schumann revised it later. It was composed in 1841and revised in 1851. Clara Schumann wrote in her diary of 31 May 1841: ‘He has begun a new symphony. As yet I haveheard nothing about it, but, from Robert’s way of going on, and D minor sounding wildly in the distance, I know that anotherwork is being created in the depths of his soul’. On his wife’s birthday, 13 September 1841, he surprised her with thecompleted work and it was performed shortly afterwards. Schumann was distressfully aware of the weaknesses ininstrumentation which made it sound as if the work had been composed at the piano. He wrote in his diary: ’One thing Iam glad of – the knowledge that I am still far from my goal and must strive to do better, and the feeling that I have thepower to do so’. So ten years later he rescored much of the symphony. The symphony cannot fail to move and charm thelistener.The first movement begins with an uneasy, ominous introduction. The effect is of vegetation swaying to and fro. The pacegradually quickens and the opening figure, which appears again and again in the movement, is heard. This idea also formsthe basis of the second subject. A new theme finally forces the original into the major key and the movement ends in arobust and cheerful manner. But the symphony is cyclic in form and Schumann intended it to be played without breaks,so we are led immediately into the short slow movement.The second movement is an exquisitely fragile and wistful little song, but early in the movement the restless, swayingfigures from the introduction are heard suggesting that the oboe’s little song has aroused emotions too strong for it.However we are soon in the major key with a solo violin weaving a beautiful pattern of arabesques before the oboereturns us to the original minor key.The third movement takes us straight into eighteenth-century England with a tune that could have come straight out ofThe Beggar’s Opera. The trio is a complete contrast and calms the joviality of the opening. The jolly opening then returnsbut is again quietened by the trio bringing the movement to a quiet close.The fourth movement starts with a preparatory slow bridge section, often compared to the corresponding section inBeethoven’s Fifth, which then bursts into the main idea of the last movement which is founded on the phrases of the firstmovement. This is set against string tremolos and arresting passages for the brass which must have affected Brahms inhis youth for he did a similar thing in his first symphony. The movement progresses in an ecstatic manner leading finallyto a presto coda bringing this very personal symphony to a brilliant close. © IGS 20106Great Music LIVE. Single ticket prices: £32, £28, £23, £19, £14, £10

Hilary Davan WettonFounder ConductorHilary Davan Wetton, the founder conductor of theMilton Keynes City Orchestra, is one of Britain’sbusiest and most versatile conductors. He isMusical Director of two major choirs: the GuildfordChoral Society and the City of London Choir andregularly appears as a guest conductor with choirsand orchestras both in Britain and overseas. In1998 he appeared with the Philharmonia at theFestival Hall, the Royal Philharmonic Orchestra atKenwood, the Hanover Band at St. John’s SmithSquare and the Leicester Philharmonic Choir andLondon Bach Orchestra in the de Montfort Hall.Hilary broadcasts regularly on Radio 3; between1986 and 1989 he gave a number of firstbroadcasts of 19 th century British Composers(Cipriani Potter, Sterndale Bennett and SamuelWesley) with the Ulster Orchestra. Subsequentlyhe recorded much of this repertoire with the MiltonKeynes Orchestra for Unicorn-Kanchana; theMilton Keynes City Orchestra has also recorded forHyperion, (Symphonies by Joachim Raff). In 1988he made a series of recordings with the LondonPhilharmonic Orchestra for Collins Classics. Oneof these (Holst’s Planets) was the recommendedversion in the Penguin C.D. Guide. Another,(Mozart’s “Jupiter Symphony”) receivedconsiderable critical acclaim. His recording ofHolst’s Choral Symphony with the Royal Philharmonic Orchestra won the Diapason D’Or in 1995.In the opera pit Hilary has appeared on a number of occasions with Travelling Opera, for whom he has conducted CosiFan Tutte, The Marriage of Figaro, Carmen and The Barber of Seville. In 1991 he conducted for the French companyBallet du Nord the first ever danced version of Mozart’s Requiem in double bill with Stravinsky’s Apollo at London’sSadlers Wells Theatre.Hilary also has a particular commitment to performance with young people; he was conductor of the BirminghamConservatoire Orchestra from 1983 to 1987 and the Buckinghamshire Youth Orchestra from 1986 to 1990. He hasappeared with Youth Orchestras as far afield as Melbourne, Sydney and Singapore. He was conductor of the ScottishSchools’ Orchestra from its foundation in 1984 until 1995; he has been conductor of the Edinburgh Youth Orchestrasince 1994. After 15 years as Director of Music at St. Paul’s Girls’ School (where his predecessors include Holst andHowells) he was appointed Director of Music at Tonbridge School in January, 1994. He has been awarded honorarydegrees by the Open University (MA) and de Montfort University (DMus).His skills as a communicator have reached a much wider public since 1993 when Classic FM initiated the Masterclassprogramme. In this programme Hilary introduced audiences to a whole range of music with live musical illustrationsoften played by the Milton Keynes City Orchestra.Great Music LIVE.7

Let us helpconductyour legal affairsAt Franklins Solicitors LLP, providing expert legal help is all about delivering the bestsolution for our clients as speedily and effectively as possible. You can count on ourextensive experience – over 25 years – while benefiting from our state-of-the-art on-line systems whichkeep you in touch with progress on your case work 24/7. We’re also the region’s most accredited legalfirm. So, if all that sounds like music to your ears, and you need a safe pair of hands to conduct legalaspects of your personal or business affairs, why not turn to the experts at Franklins Solicitors.Franklins Solicitors LLP – legal advisors to the Milton Keynes City OrchestraMilton KeynesSilbury Court, Silbury BoulevardCentral Milton Keynes, MK9 2LYTel: 01908 660966Fax: 01908 558139Northampton14Castilian Street,Northampton NN1 1JXTel: 01604 828383Fax: 01604 609637 .fwww.franklins-sols.co.ukBusiness Services | Commercial Property Services | Land Development Services | Employment Law and HumanResourcesDebt Recovery | Commercial Litigation | Conveyancing | Wills and Estate Planning | Accident Claims | Family Law8Great Music LIVE. Single ticket prices: £32, £28, £23, £19, £14, £10

Simone PorterViolinSimone Porter, 14, beganviolin studies at the age ofthree and a half. She studiedwith Margaret Pressley as arecipient of the DorothyRichard Starling Scholarshipfor six years and wasadmitted into the studio of therenowned pedagogue, RobertLipsett, of the ColburnConservatory in August of2008 as a scholarshipstudent. Simone also studieswith Danielle Belen of theColburn School of PerformingArts on a merit scholarship.Summer musical studies haveincluded attendance atIndiana University’s SummerString Academy, the SchlernInternational Music Festivaland the Aspen Music Festival,where she receives a fullscholarship. Simone made her orchestral debut when she was eight. Since then she has soloed with the Port AngelesSymphony, Seattle Youth Symphony’s Classical Symphony, the Olympia Symphony, Seattle Symphony, NorthernSinfonia Orchestra In Gateshead, England and, most recently, with the Colburn Conservatory Orchestra and the RoyalPhilharmonic Orchestra in London. Simone has been featured on the nationally syndicated radio program, From theTop, and she was invited later to make her Carnegie Hall debut on From the Top’s Emmy Award winning TV show Livefrom Carnegie Hall. Other TV appearances include the Channel 4 Documentary, The World’s Greatest MusicalProdigies, aired in the UK last June, and, most recently, Kiro 7 TV’s Quarterly Magazine, In Color.In 2008 Simone had the privilege to open a ceremony honoring the Dalai Lama for 55,000 people in Qwest field inSeattle, as part of a five day long summit on compassion, sponsored by Seeds of Compassion organization. Simone hasperformed in recital many times, and was most recently presented as an “Emerging Young Artist” by the SeattleChamber Music Society.Simone attends the Accelerated Progress Program at Hamilton International Middle School. In addition to playing andlistening to music, Simone enjoys nature, playing with her dog, Olivia, reading Harry Potter and watching Joss Whedonshows.For booking and information call : 01908 558311 9

Milton Keynes City OrchestraEducation and OutreachThe Orchestra’s Music for Life programme takes music and music-making experiences beyond the concert stage and intothe community – offering high quality, relevant musical experiences for all. The Orchestra works closely with local familycentres, Parish Councils, schools, libraries, disability groups and elderly residents working with people of all ages andabilities enabling participation and enjoyment of music making through creative projects.The display of musical sculptures and performance by SNAP clients in the foyer this evening is the result of project workingin the first two weeks of January 2011. Participants worked alongside Milton Keynes City Orchestra Bassoonist RachelEdmonds and local visual artist Jessica Rost to create musical sculptures and to create new music. We do hope that you10 The City’s own...

enjoyed this display and performance.Other recent projects have included interactive family friendly music tours to local libraries and family centres, taking musicinto a prison, training early years workers to deliver quality early years music education and tours to visit elderly residents inthe local community.Our partnership with Milton Keynes Music Service continues with the side by side performance by music service studentsthis evening and plans to deliver a 15 piece ensemble performance to school children in Milton Keynes in 2011.For further details about our Education and Outreach activities please contact:Jackie Allen, Education and Outreach Officer, Milton Keynes City Orchestra, 3 Theatre Walk,Central Milton Keynes MK9 3PX or telephone 01908 558311 or email jackie.allen@mkco.orgGreat Music LIVE. 11

Milton Keynes City OrchestraVIOLIN 1Diana CummingsDominic MooreCharlotte EdwardsElisabeth WilsonSue KinnersleyMarina SolarekJeremy SampsonGillian BrightwellPhil GibsonKaty BarnesVIOLIN 2Teresa PopleEmer CalthorpeAnna Dryer BeersCheryl Agnew BassHelen BrownRachel BunnMichiko NegamiVIOLADonald McVayGraeme ScottClaudine GuidonStephen GilesLiz MaskeySharada MackCELLOBozidar VukoticPhillip TaylorToby TurtonDinah BeamishHarry NapierBen StevensBASSJeremy GordonCatherine RickettsKenneth KnussenPeter SmithFLUTEGraham MaygerFLUTE 2/ PICCOLOSusie Hodder WilliamsOBOEGraham SalterGwenllian DaviesCLARINETHelen PaskinsHannah MorganBASSOONJohn WhitfieldRachel EdmondsHORNRichard WainwrightTim LockeTed ChanceTony CatterickTRUMPETTim HawesDave PriceTROMBONEPhillip WhiteDavid StoweBASS TROMBONEBrian LynnTIMPANIBen FullbrookPresident Lady Thompson Milton Keynes City OrchestraVice Presidents Luing Cowley 3 Theatre WalkPeter Donohoe Central Milton KeynesSir Peter Thompson MK9 3PXTel: 01908 558311ChairmanSimon CuthbertsonPrincipal Conductor Sian Edwards Email: info@mkco.orgLeader Diana Cummings Web: www.mkco.orgGeneral ManagerAnna J DennyOperations ManagerNick CuttsFinancial Controller Donald Edwards Registered Charity Number: 271108Education and Outreach Officer Jackie Allen VAT Registration Number: 536 467620Administrative Assistant Kate Gardner Registered in England Number: 126843612 Great Music LIVE.

Milton Keynes City OrchestraMilton Keynes City Orchestra is established as the primary live professional live classical music resource for MiltonKeynes and the surrounding area. The Orchestra was founded some 35 years ago by, and for, local people, and gaveits first performance at Stantonbury Campus Theatre under the baton of its Founder Conductor, Hilary Davan Wetton,in February 1975. The Orchestra aims to promote a balanced programme of live orchestral music at high professionalstandards. This is supported by a programme of education and outreach activity – Music for Life – which reachesaudiences outside the concert hall who might not attend traditional concerts. The Orchestra is unique in being aprofessional orchestra which is resident, active, here in Milton Keynes – it plays an important part in the cultural life ofthe city, engaging with the education sector and business community, and is a valuable community and arts resource.Highlights of the Orchestra’s 2010 – 2011 season at Milton Keynes Theatre include: Yamaha supported pianist NorikoOgawa who will perform the Grieg Piano Concerto in May 2011 as part of the Mayor of Milton Keynes’ concert; lushstring writing in Barber’s Adagio; this evenings performance by young violinist Simone Porter who is one of the “World’sGreatest Musical Prodigies”; and pomp, circumstance and festivities in June. The Orchestra will be presenting moreconcerts this season than in recent years as it launches “Chamber Roots”, a new season of three smaller scaleOrchestra concerts, presented at Stantonbury Campus Theatre. Chamber Roots features young soloists recentlyawarded scholarships by the Yamaha Music Foundation of Europe and repertoire that will provide a fascinating contrastwith that presented at Milton Keynes Theatre.Members of the Orchestra regularly work within the community, enabling people of all ages and experiences toparticipate and enjoy music making through practical workshops, composition projects, family and schools concerts,coaching, orchestral training and other creative projects. Recent family music making activities focused on the themeof ‘Song and Dance’ including an education residency with Greenleys First School and Greenleys Junior School, whereyoung people took part in workshops before visiting Milton Keynes Theatre to perform and to experience the Orchestraas part of a family music day; an ensemble of musicians from the Orchestra visited nine local libraries; and the familyday at the Theatre included “try it sessions” with instruments, singing workshops, foyer performances, and youngpeople performing on stage. Recent community working has also included opportunities for local people to “SingTogether”; early years music sessions and practitioner training; percussion and dance workshops with young adultsfrom SNAP; master classes with Tasmin Little and Emma Johnson; featuring in the MK Arts Open Weekend; and“brewing up” with Festive Road.Whilst the Orchestra is traditionally committed toMilton Keynes and its environs, it continues to workfurther afield – performing “Song and Dance” invenues in Luton, Bedford, and Northamptonshire;performing at the Grove Theatre Dunstable; and aspart of the English Music Festival at DorchesterAbbey. The Orchestra has also undertaken tours tothe USA and France. It has released six recordingson the Unicorn-Kanchana and Hyperion labels. Alsounder the baton of Hilary Davan Wetton, theOrchestra broadcasted the Classical FMMasterclass series of introduced works.For booking and information call : 01908 558311 13

Our PatronsThe Orchestra would like to thank its Patrons, whose support enables us to keep music live, bothon stage and within the community. Thank you.Margaret AbrahamsMrs Caroline AdamsMr P AllenPeter and Diane BarnesMr R BatesMrs R BeckettMichael BennMr & Mrs Bill BlythMrs E BodillAlexander BoswellMalcolm & Jenny BrightonJanet & Peter BrinsmeadMr & Mrs P ButlerMrs L M Cantor MBEMr & Mrs B R CarstensDavid ChamberlainMr B ClarkMr & Mrs D J ClinchMrs P CoombesMr & Mrs A H CooperMr L H CowleyMichael CuthbertsonSimon CuthbertsonChris & Ursula DancasterMiss Avril DankworthRobin & Rosie DawsonMr J W DolmanGlenda DryerMs P EcclesMrs B EdmondsonDr & Mrs D A EvansMr & Mrs J H FellinghamMs A GaisfordMr & Mrs B GeerlingsMr J J M GlasseThe Hon & Mrs R GodberMrs C GoddardMr & Mrs J J Grafftey-SmithMrs Judy GraingeFrançoise GuegueniatMr & Mrs D HadfieldMrs E HalmosMr R N & Dr J G HartCheryl HawkinsDrs P and J HaynesDon and Felicity HeadFrank & Jane HenshawBob & Marion HillMr B HindMr & Mrs M Hodder-WilliamsMr & Mrs B HoganMr P W HumphreysChristine HumphriesDr & Mrs B HundyMrs Sarah JamesonMrs JenkinsKeith & Heather JenningsMr F X KayMr & Mrs P J KiddleMr W J KingMr & Mrs D KnapmanMrs C E KonigMr L LawSir Bruce and Lady Jane LiddingtonDr A G LimbJennie LindenMrs M LivingstoneLinda LlewellynHaydn & Jan LloydMr C T LousadaMr & Mrs P A LousadaMrs Helen MacarioRev & Mrs R C MacaulayMr & Mrs D MacdonaldMargaret MacerMr P Mackenzie-YoungMr & Mrs R MacphersonMr & Mrs M MannMr & Mrs P MartinMs K L MasonMr & Mrs J P MatthewsChristopher MatthewsMr R MaycockMrs L McComieMiss M McGowanMr & Mrs D S MercerMrs Jean MerrillMr & Mrs Graham MissenMrs E MitchellBeryl MortimerMrs Amanda NicholsonMrs M PawleyMr & Mrs E A PaytonMrs Ann ProsserMrs M QuickMrs P RobesonMrs A M RhodesColin & Jacky ScottMr K J SiddonsDr & Mrs Paul SingerMr & Mrs A SkennertonWinifred SkipperMrs Andrea SmithElaine and Neil SmithSue & Ian SmithSir John and Lady SouthbyMr I A StewartProfessor Keith StraughanMr & Mrs G G StruttMark & Ann StruttonMr & Mrs M TelferMr & Mrs W B ThompsonPeter Thorogood & AssociatesLady Tudor PriceMr & Mrs N TurnbullHis Honour Judge Christopher TyrerLady M VerneyMr & Mrs T WagstaffMr & Mrs J WalkerMr & Mrs J A WaltonMr P W WatermanMr G WebsterDr B K WhartonThe Revd & Mrs J W WhysallMr & Mrs W G WilliamsPeter & Margaret WolfendaleMr G WoodfineMr J WoolfeAnonymous14 Great Music LIVE.

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Forthcoming EventsMILTON KEYNES THEATRE SEASON‘Palladio’Sunday 10th April 2011 at 7.30pmPalladioJenkinsAdagio for StringsBarberConcerto for Two Violins,BWV1043, D minorBachFantasia on a Theme byThomas TallisVaughan WilliamsSerenade for Strings, Op. 48, C major TchaikovskyPrincipal Conductor:Soloists:Sian EdwardsDiana Cummings, ViolinGabrielle Painter, ViolinThe Mayor of Milton Keynes’Charity ConcertSunday 15th May 2011 at 7.30pmBarber of Seville: OvertureRossiniCantus in Memory of Benjamin Britten PärtPiano concerto, Op. 16, A minorGriegSymphony no. 5, Op. 67, C minor BeethovenPrincipal Conductor:Sian EdwardsSoloist:Noriko Ogawa‘Last Night...’Friday 24th June 2011 at 7.30pmFestive Overture, Op. 96ShostakovichPomp and Circumstance March no. 1,D majorElgarCapriccio Italien, Op. 45TchaikovskyFantasia on British Sea SongsWoodFast colours (World Premiere)PowersJuno (UK Premiere)TurnageOverture: 1812, Op. 49TchaikovskyJerusalemParryRule, Brittania!Arne, arr SargeantPrincipal Conductor:Sian EdwardsSoloist:Cheryl Hawkins, SopranoSingle ticket prices: £32, £28, £23,£19, £14, £10CHAMBER ROOTS SEASON AT STANTONBURY CAMPUS THEATRESaturday 19th March 2011 at 7.30pmDivertimenti K.136, D majorMozartBachianas Brasileiras no. 9 Villa-LobosCello Concerto, A major, W.172 C.P.E BachOboe Concerto, no. 2, op. 9, D minor AlbinoniThree piecesPiazzollaDivertimenti K.138, F majorMozartPrincipal Conductor:Sian EdwardsSoloists:Yoshika Masuda, CelloGraham Salter, Principal OboeSaturday 28th May 2011 at 7.30pmThe Light FantasticSkemptonPiano Concerto no. 15, K.450, B flat majo MozartSymphony no. 80, D minorHaydnPrincipal Conductor:Sian EdwardsSoloist:Yamaha Music Foundationof Europe’s 2011Winner (to be announced), PianoAll Tickets: £1816 Great Music LIVE.

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‘Palladio’Sunday 10 th April 20117.30pm at Milton Keynes TheatrePalladio – JenkinsAdagio for Strings – BarberConcerto for Two Violins,BWV1043, D minor – BachFantasia on a Themeby Thomas Tallis – Vaughan WilliamsSerenade for Strings,Op. 48, C major – TchaikovskyPrincipal Conductor: Sian EdwardsSoloist: Anna-Liisa Bezrodny, ViolinGreat Musiclive.Box Office 01908 558311 Single ticket prices £32, £28, £23, £19, £14, £10