Curtain Raiser Concert Programme.pdf - Milton Keynes City Orchestra

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

With thanks...Milton Keynes City Orchestra thanks the organisations and individualswhose support enables it to continue, on stage and in the community…Arts Council England, South EastArts Gateway MKBaker TillyBedfordshire and Luton Community FoundationCity PrintEbs-ItEranda FoundationFranklins SolicitorsInterdirect LimitedKate Everall PhotographyKeen Shay Keens MKLivingstone White LtdMercedes-Benz of Milton KeynesMilton Keynes Community FoundationMilton Keynes CouncilMilton Keynes TheatreMilton Keynes Theatre and Gallery CompanyMK FlyersMK NewsMRC PhotoNorthamptonshire Community FoundationOld Possum’s Practical TrustOrchestras LiveRamada Encore HotelRoutecoShenley Brook End and Tattenhoe Parish CouncilSouth Northamptonshire District CouncilStony Stratford Town CouncilThe Citizen MKThe John Lewis PartnershipThe Open UniversityThe Rotary Club of Milton KeynesWolverton ParkYamaha Music Europe GmbH (UK)of Milton KeynesSponsorship When was the last time your business was applauded by 1,000 people?Opportunities are available for your organisation to benefit from sponsoring Milton Keynes CityOrchestra, highlighting your business to a captive audience. Packages include opportunities toinvite and entertain guests at concerts, promotional and publicity opportunities; and the knowledgethat your business sponsorship plays a vital role in keeping Milton Keynes City Orchestra live bothon the concert platform and within the community.If you would like to find out more about aligning your business with our business, please contactAnna J Denny in the Milton Keynes City Orchestra Office on 01908 558311 or atanna.denny@mkco.orgGreat Music LIVE.

Sunday 5 September 2010 7.30pmat Milton Keynes TheatreCurtain RaiserDances of GalantaViolin Concerto, Op. 77, D majorIntervalThe Unanswered Question, S.50Symphony no. 38, K.504, D major, ‘Prague’KodályBrahmsIvesMozartPrincipal ConductorSoloistSian EdwardsAnna Liisa BezrodnyPlease noteMilton Keynes City Orchestra reserves the right to makechanges to the advertised programme of performers asnecessary.The management reserves the right to refuse admission.Smoking is not permitted in the auditorium, nor is theuse of camera and recording equipment. Glasses maynot be taken into the auditorium. Latecomers will not beadmitted until a suitable break in the performance. Thepublic may leave at the end of the performance by allexit doors and such doors must be at all times keptopen. Sitting or standing in gangways is not permitted.All stairways, exits and passageways must be kept freeof 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.For booking and information call : 01908 5583111

2 Great Music LIVE.

WelcomeGreatWelcome note from Sian Edwards“The start of a new season is always exciting as itrepresents all the work that has been going on formonths behind the scenes assembling the programmes,soloists and finances that will make the performances cometo life. Now we are finally in a position to actually play the music and to shareour performances with you!Welcome to the 2010-2011 Season of Milton Keynes City Orchestra.This evening opens with the magical longing that turns into boundless, almostreckless joy in Kodály's Dances of Galanta. Brahms also adored the music ofEastern Europe and, although his towering Violin Concerto doesn't have thedance music he loved, it has a power and passion that comes from the gypsyroots of violin playing as much as from the classical discipline of the concerthall. It's a huge pleasure to welcome Anna-Liisa Bezrodny to Milton Keynes forthe first time.The second half of the concert takes us on an intriguing little mystery tour withCharles Ives - let the atmosphere take you to a faraway place for a moment -before returning firmly to one of classical music's most beautiful, and one of myabsolute favourite Mozart Symphonies - No. 38, the ‘Prague’.“Sian EdwardsPrincipal ConductorFor booking and information call : 01908 5583113

Dances of GalantaZoltan Kodály (1882-1967)Kodály was the most important Hungarian composer of the 20th century after only Bartok with whom hecollaborated in the collection of Hungarian folk music. He is probably best known for his suite ‘Hary Janos’but this amusing adaptation of popular and folk styles is not necessarily representative of Kodály’s seriouswork.Kodály’s upbringing was strongly influenced by chamber music. His father was a keen amateur musicianwho, in all his spare moments, would play chamber music, especially quartets. Kodály soon joined in withthis, having taught himself to play the cello as no other cellist was available. Studies abroad assistedKodály to develop his own style which is much more tonally and traditionally orientated than that of hiscolleague Bartok, but not as traditional as his other contemporary Dohnanyi.The Dances of Galánta were written in 1933 for the 80th anniversary of the Budapest Philharmonic Societyand first performed in October of that year. The work recalls the composer’s happy and carefree childhooddays. Galánta is on the main railway line from Budapest to Bratislava and on to Vienna. Kodály’s fatherwas station master there for seven years. The work is a dance rhapsody, broadly a rondo in five sections.Its style is that of the typical Hungarian gypsy dance with melodies and rhythms characteristic of traditionalgypsy music, but with a hint of bagpipes appearing in the fourth section. Most striking in this music is thebrilliant orchestration (combinations of instruments playing together) which is also typical of Kodály.© IGS 2010Violin Concerto, Op. 77, D majorJohannes Brahms (1833 – 1897)Allegro ma non troppo – Adagio – Allegro giocosoWhen Brahms, in 1878, wrote to Joachim to ask if he would be interested in a violin concerto thecomposer had been planning, we can imagine with what eagerness the great violinist replied. Coming afterBrahms’ great first symphony was composed at the height of his creative career. The noble firstmovement, a thoughtful idyllic adagio, and brilliant finale with its fiery gypsy-like music make the concertoone of it’s creator’s finest works.In the introduction the composer sets out a simple dignified melody (the principal theme), followed by asolo oboe; then the original tune in vigorous unison ushers in a gently flowing melody beginning with aphrase of three descending notes which is followed by a vivacious, strongly rhythmic theme. The soloinstrument makes a striking entry on a minor version of the first theme, while the orchestra softly recallsfragments of the melodies previously heard. As if decided upon the first, the violin plays it in the upperregister, and a little later adds the second principal theme to these already announced. In the main part ofthis movement each melody is recalled in turn. Towards the end of the movement the composer, accordingto the custom of the earlier masters, allows the soloist to interpolate a cadenza.The second movement has an exquisite melody, first heard on the oboe, softly accompanied by the rest ofthe wind instruments. It assumes fresh beauty when eventually taken up by the solo violin which plays anornamented version. There is an intermediate part where the violin announces a new, more florid, themeafter which the music returns to the first melody, now in a different form. There is a dialogue betweensoloist and horn before the movement closes in tranquillity.The finale is tinged with Hungarian idiom (the character of this movement was doubtless intended partly asa delicate compliment to Joachim, a native of Hungary). The principal theme is of tremendous rhythmicenergy, played in double stopping (where the soloist plays two notes simultaneously). Violin and orchestraseem to revel in it for sometime, before a fresh theme is introduced. This theme, played by the soloist,sweeps up in octaves and against it the accompanying bass descends in an equally vigorous movement.A third theme eventually appears, a playful little figure also introduced by the solo violin. But it is the‘gypsy’ theme, which in rondo-like fashion dominates the movement and, in a skillful rhythmictransformation, provides a brilliant coda as a conclusion.© IGS 20104 Great Music LIVE.

The Unanswered Question, S. 50Charles Ives (1874 – 1954)Charles Edward Ives was an American modernist composer. He is widely regarded as one of the firstAmerican composers of international significance. Ives' music was largely ignored during his life, andmany of his works went unperformed for many years. Yet, over time, Ives came to be regarded as an"American Original". Ives combined the American popular and church-music traditions of his youth withEuropean art music, and was among the first composers to use musical techniques that foreshadowedmany musical innovations of the 20th century.Ives, as well as being a composer, was a very successful businessman developing the Ives and MyrickAgency into one of New York’s most successful and lucrative insurance offices. (Ives is said to haveinstituted the first course for training insurance agents and to have invented the concept of estateplanning.) His business assured his financial well-being and freed him to write whatever kind of music hepleased; and what pleased him were not “pretty, pretty little sounds” but “fine, strong” music that waslike some metaphysical window onto a transcendental landscape. “I found I could not go on usingfamiliar chords only,” he said. “I heard something else.”Charles Ives’s sources of tonal imagery are hymn tunes and traditional songs, the town band at a holidayparade, the fiddlers at Saturday night dances, patriotic songs, sentimental parlour ballads, and themelodies of Stephen Foster. His output includes four symphonies, two string quartets, sonatas for pianoand violin (including the massively complicated Concord Sonata for piano), descriptive pieces and manysongs.Though much of Ives’ music is modern and experimental in its harmony, texture and melodicmanipulations, it is solidly rooted in the Romantic notion that music means something — that the notesare more than simply abstract, fleeting vibrations that momentarily titillate the ear but ultimately leave thelistener untouched. He was convinced that music “comes directly out of the heart of the experience oflife and living life.” Some of Ives’ works are like pasted-up scrapbooks of the musical bits and piecesthat had stuck in his mind since his childhood in Danbury, Connecticut. Ives was a true visionary; “a manof noble thoughts, a brave and original genius,” American composer and critic Virgil Thomson calledhim. “The future of music may not lie entirely with music itself,” Ives wrote, “but rather in the way itencourages and extends, rather than limits, the aspirations and ideas of the people, in the way it makesitself a part of the finer things that humanity does and dreams of.”The Unanswered Question was probably initially Ives’ most well known work and along with ThreePlaces in New England is Ives’ most popular work. It's also starkly revolutionary, especially consideringits composition date. Ives composed the The Unanswered Question in about 1906. He also maderevisions to the work some time around 1930-35. The revised version (also known as Version 2),became the most well known version. He used a number of titles for the work including "Largo toPresto: The Unanswered Question: A Cosmic Landscape", "A Contemplation of a Serious Matter" and"The Unanswered Perennial Question", but he finally settled on simply The Unanswered Question withthe subtitle ‘A Contemplation of something serious’.Biographer Jan Swafford comments:In the 1930's, when he was rummaging for new pieces to put before the public, Ives picked up "TheUnanswered Question," carefully revised it, and attached a program something like what must havebeen on his mind in 1906. The strings are "the silences of the Druids, who know, see, and hear nothing";over this indifferent universal background the trumpet repeatedly poses "the perennial question ofexistence"; the winds are the "fighting answerers" who, for all their sound and fury, get nowhere. ... Theprogram also encompasses a philosophical idea that Ives would address incomparably in his music andin his writings: in contemplating the sublime mystery of creation, a question can be better than ananswer.The première performance of The Unanswered Question (Version 2) occurred on 11 May 1946conducted by a strong supporter of Ives (and himself an American composer of note) Elliott Carter witha chamber orchestra of graduate students at the Juilliard School. The same concert featured thepremieres of "Central Park in the Dark" and String Quartet No. 2. Version 1 of the work was notpremiered until March 1984, when it was performed in New York City.© IGS 2010For booking and information call : 01908 5583115

Symphony no. 38 in D major K504 ‘Prague’Wolfgang Amadeus Mozart (1756-1791)Adagio – Allegro : Andante : PrestoThis symphony received its subtitle from the performance in Prague in 1787 where Mozarthad gone to enjoy the success of his opera The Marriage of Figaro. This led to thecommission of Don Giovanni produced at the Prague opera the following October andthere are several moments in the symphony which look remarkably like sketches for thisnew opera. One peculiarity of this symphony, besides its contemporaries, is the lack of aminuet and trio. This may be explained in two ways. The first is that in returning to themore primitive three movement form Mozart felt he was able to offer more in his maturity,than he had previously been able, to the form which after all was the forerunner of thedeveloped symphony. The second is that this is the only symphony of the 41 he wrote inwhich all the movements are in strict sonata form and a minuet and trio would have noplace in such a structure. Whichever of these explanations is adopted the work remains amaster-stroke of formal economy.In the first movement the allusions to Don Giovanni begin from the outset with the openingfigure later used for the same guest’s heavy footsteps. Much else resembles the musicassociated with the avenging statue. Then comes the transition to the allegro, again afore-runner of Don Giovanni and the opening of the Allegro itself proceeds in the same wayas the overture, even to the extent of being in the same key. Mozart’s genius now showsthrough with his powers of invention and development alternating to lead us to the secondsubject. This is a magnificent piece of writing scarcely excelled even by Mozart himself.The development begins with seemingly new and irrelevant material but this is sooncombined polyphonically with not only first and second subject but also the traditionaltheme. The first subject then re-appears as if the recapitulation but, being still in the wrongkey gives an amusing false start. The recapitulation proper then begins and with somefascinating modulations concludes the movement.The second movement is mainly an outpouring of exquisite melodies the one after theother. The opening theme is played by the first violins and repeated, with a variation, byflutes and bassoons. The contrapuntal nature of the movement is remarkable anddependent on Mozart’s superb interlacing of strands as the strands in themselves are notvery remarkable. The end of the first part contains a magnificent cadence phrase which, ifthe repeat is not done, as is modern convention in an already long slow movement, ismissed. Yet if the repeat is made the movement would be too long so the conductor hasthe unenviable choice between the lesser of two evils!The finale is exhilarating and full of wit, as epitomised in the syncopation in the first subjectand Mozart keeps the amusing game going later on when the syncopation is so displacedbetween treble and bass that they do their best to put each other off. The syncopationleads to the second subject which is in three distinct phrases, the first and third for stringsand the second for wind. The development is almost entirely concerned with rhythmicentanglements which continue through the recapitulation until the end is reached aftermany unexpected modulations.© IGS 20106 Great Music LIVE.

Sian EdwardsPrincipal ConductorSian Edwards studied at the Royal Northern College ofMusic and with Professor A.I. Musin at the LeningradConservatoire. She has worked with many of the world’sleading orchestras including Los Angeles Philharmonic,Cleveland, Orchestre de Paris, Ensemble Orchestral deParis, Berlin Symphony, the Frankfurt Radio SymphonyOrchestra, MDR Leipzig, Vienna Symphony Orchestra,Rotterdam Philharmonic, Finnish Radio Symphony, St. Petersburg Philharmonic, RoyalFlanders Philharmonic, London Sinfonietta, the Hallé, and City of Birmingham SymphonyOrchestra. She has a close relationship with Ensemble Modern in Germany.She made her operatic debut in 1986 conducting Weill's Mahagonny for Scottish Operaand her Royal Opera House debut in 1988 with Tippett's The Knot Garden. From 1993 to1995 she was Music Director of English National Opera for whom her repertoire includedKhovanshchina, Jenufa, Queen of Spades and Blond Eckbert (also recorded on Collins).For the Glyndebourne Festival she has conducted La Traviata and the Ravel Double Bill,and for Glyndebourne Touring Opera Katya Kabanova and Tippett's New Year. Sheconducted the world première of Mark Anthony Turnage’s Greek at the Munich Biennale in1988. Recent engagements have included the world premiere of Hans Gefors' Clara forthe Opéra Comique in Paris, Cosi fan tutte in Aspen, her return to English National Operafor Eugene Onegin, Don Giovanni in Copenhagen, Damnation de Faust in Helsinki, PeterGrimes and Tchaikovsky Queen of Spades in Frankfurt; Previn A Streetcar Named Desireand Heggie Dead Man Walking at the Theater an der Wien, Weir A Night at the ChineseOpera for Scottish Opera, Jenufa for Welsh National Opera, Hansel and Gretel for theRoyal Academy of Music and, most recently, Aquarius by Karel Goegvaerts for FlandersOpera.Sian Edwards' recordings include Peter and the Wolf, Britten's Young Person's Guide, andTchaikovsky's fifth Symphony, all with the London Philharmonic Orchestra and JudithWeir's Blond Eckbert with English National Opera.Future concert engagements include the Ensemble Modern, Bayerische Rundfunk inMunich, SWR Sinfonieorchester Freiburg, Kuopio Symphony, Turku Philharmonic, and theFrankfurt Radio Symphony Orchestra. Future operatic engagements include The Rape ofLucretia for the Theater an der Wien as well as a new ballet, Orlando, for the StaatstheaterStuttgart.For booking and information call : 01908 5583117

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 Law

Anna Liisa BezrodnyViolinAnna-Liisa Bezrodny was born in Moscow in 1981 into a famousfamily of musicians.At the age of two she began her violin studies with her parents, at nineshe entered the Sibelius Academy in Helsinki, Finland, in the class ofher parents Professor Igor Bezrodny and Professor Mari Tampere-Bezrodny, later studying for MMUS degrees in both Sibelius Academyand Guildhall School of Music and Drama where she won a mostprestigious award, the Gold Medal in 2006.Anna-Liisa has succeeded in many competitions, such as in theJ. Kocian International Violin Competition, Czech Republic (1995, 1st prize), a special prize given by theRotary Club (1999), the only prize given in the International Music Festival of Frankfurt, Germany (2000),recipient of the Ian Fleming Charitable Award of the Musicians Benevolent Fund (London,2003), prizewinner of the Martin Musical Scholarship Award, (London,2003), Hattori Foundation and Myra Hess Trustprizes, (London, 2004), Ricci Foundation Winner 2009, Young Artist of the Making Music Foundation 2009,J. Heifetz International Violin Competition (2005, 3rd prize), Brahms International Competition (2005, 2ndprize), Haverhill Soloists Competition in UK. In 2006 Anna-Liisa won the prestigious Guildhall Gold Medal,playing Shostakovich Violin Concerto No.1 in the Barbican Hall with Sian Edwards, the same competitionhas been won by Bryn Terfel, Tasmin Little and Jacqueline du Pre, to name a few. In 2005 Anna-LiisaBezrodny was awarded the PROMIS Award for talented young musicians from the London SymphonyOrchestra and in the same year received an honorary prize from the Pro Musica Foundation in Finland.Anna-Liisa has consistently been invited to participate in numerous festivals, playing in both chamberensembles as well as solo, such as Die Russische Musik Festival Dortmund (Germany), InternazionalesMusikfest in Dietzenbach/Frankfurt (Germany), International Music Festival of Waterford (Ireland), MacmillanFestival, Carter Festival, Malta International Music Festival, Lincoln Festival (UK), Tallinn Chamber MusicFestival, Sibelius Festival (USA), Turku Music Festival, Finland, Open Chamber Music, Prussia Cove, ValdresFestival in Norway, Bergen Festival, and others. Her chamber music partners have included Sarah Chang,Chloe Hanslip, Oleg Kogan, David Cohen, Alexander Chaushian, Alexander Sitkovetsky, Maxim Rysanov,Ivari Ilja, Ronan O’Hora, Louise Hopkins, and many others.Anna-Liisa has appeared in most prestigious concert venues in Russia, Finland, UK, Estonia and others,including the Barbican, Wigmore Hall, Cadogan Hall, Finlandia Hall, Esstonia Hall, St. PetersburgPhilharmonic, Moscow Conservatoire Great Hall as well as Small Hall and Rakhmaninov Hall, andTchaikovsky Hall.Anna-Liisa has broadcast on several occasions for Finnish and Estonian National TV’s and National Radio,NBC and BBC Radio 3. As a soloist she has appeared with orchestras such as the Moscow SymphonyOrchestra TV6 (in the Moscow Conservatory’s Great Hall), Helsinki Philharmonic (in Finlandia Hall), EstonianNational Orchestra, Estonian Chamber Orchestra, Pärnu Philharmonic Orchestra, Jyvaskyla ChamberOrchestra (Finland), Turku Philharmonic, Vaasa Philharmonic Orchestra, Liepaja Symphony Orchestra(Latvia), Haydn Chamber Orchestra, Georgian Chamber Orchestra, Vilnius Philharmonic (Lithuania), JenaPhilharmonic, Zurich Chamber Orchestra, South Bank Symphony, London Ensemble (at Wigmore Hall,world premiere), Guildhall Symphony Orchestra (Barbican Hall) and others. As a soloist Anna-Liisa has alsocollaborated with maestros such as Leif Segerstam, Jason Lai, Robin O’Neil, Eri Klas, Arvo Volmer, PaulMagi, Jyri Alperten, Nikolay Alekseyev, Tibor Boganyi, Sian Edwards, Juha Kangas etc, and she playsextensively with the renowned pianist Ivari Ilja as well as with Alexander Karpeyev.Anna-Liisa has been teaching at the Estonian Music Academy since 2008.Anna-Liisa has recently toured with the Helsinki Philharmonic Orchestra in St. Petersburg’s PhilharmonicHall and in the Finlandia Hall in Helsinki playing Sibelius Violin Concerto, Mendelssohn Violin Concerto inKokkola, Finland.She gave her debut recital in Berlin Konzerthaus in October 2009, as well as a debut solo appearance withthe Bach Kammerorkester Leipzig in the Cologne Philharmonie Hall.She will release a debut CD later this year.For booking and information call : 01908 5583119

Yamaha, Music Education and ourMilton Keynes City Orchestra Partnerships10Yamaha and Milton Keynes City Orchestra enjoy a long-standing creative partnership thathas seen the two organisations produce some superb recital programmes in the city.These have included a number of outstanding Yamaha artists including Freddy Kempf,Sasha Grnyuk, Marina Nadiradze and the exceptional amateur pianist Dominic Piers-Smith,who is head of aerodynamics at the Mercedes GP Petronas F1 racing team based inBrackley.This year we are taking our collaboration with the Orchestra to a new level as we worktogether on the pioneering Chamber Roots chamber orchestra concerts at StantonburyCampus Theatre. We are very excited about this, as through this programme we aim tointroduce many more people to the beauty and power of classical music.Founded in 1887, Yamaha is the world's most successful musical instrument maker andhas its UK headquarters here in Tilbrook, Milton Keynes. Although much has changedsince our first grand piano took the piano world by storm in 1904 by achieving an honoraryaward at the St. Louis Exposition, piano production and the support of music educationremains at the heart of the company’s global music education ethos.In the UK alone we operate over eighty Yamaha Music Schools teaching around 8,000students each week. We are delighted that one of our flagship state school locations is inWalton High School. We have recently unveiled our new Yamaha More Music programmewhich brings some of the world's top artists and industry practitioners together with newartists. High-level supporters of our scheme include Paolo Nutini, Jamie Cullum andMercury Music nominee Kit Downes.Earlier this year we celebrated twenty years of The Yamaha Music Foundation of Europeproviding performance opportunities, support and financial assistance to talented musicstudents throughout Europe. Since it's inception in 1989 the scheme has attracted over1,000 students in the UK alone. It now operates in thirty-one European countries and hasprovided over 850 scholarships worth over one million Euros.Later this year and into 2011 we will be providing some of these scholars with furtherperformance opportunities with Milton Keynes City Orchestra, bringing their outstandingtalent and inspirational enthusiasm to the forth-coming Stantonbury Campus TheatreChamber Series.Yamaha recognises that if the UK's enviable position as a global leader in music and thearts is to be maintained and enhanced we must support grass-roots activities. Thisdevelopment often starts in the classroom and with schemes such as the Stantonburyseries and requires dedicated and talented music educators. Ultimately, the quality of ourmusicians depends largely on these inspirational professionals who encourage our youngpeople to make music. Yamaha holds membership of, and serves on many UK educationbodies including the Federation of Music Services and the Music Education Council. Weare also a co-sponsor of Classic FM's Music Teacher of the year Awards.10 Great Music LIVE.

At the concert platform level we are immensely proud of our support for both new andestablished artists through our network of international artists’ facilities. These function asvibrant hubs providing pianists, teachers, promoters and students with access to the bestquality Yamaha concert instruments, matched by world-class technical service.Artist centre locations now include New York, Paris, Tokyo, Seoul, Shanghai and Beijingand in 2008 our London facility joined the network. Located in the heart of Soho, theLondon branch now hosts a wide range of activities including our popular LunchtimeConservatoire Concert Series in association with the major conservatoires, and aprogramme of masterclasses by visiting international artists and educators.We are delighted that our association with Milton Keynes City Orchestra continues toprosper and looks set to be significantly enhanced in 2010 and throughout 2011. We needyour passion for music and the arts to help us inspire, support and showcase the verybest of the UK's music and musicians.Thank you.Mike KetleyTo find out more about Yamaha and Music Education please visit www.yamahamusiceducation.co.ukFor booking and information call : 01908 55831111

Milton Keynes City OrchestraVIOLIN 1Diana CummingsAnn CriscuoloCharlotte EdwardsElisabeth WilsonSue KinnersleyMarina SolarekJeremy SampsonGillian BrightwellPhil GibsonKaty BarnesVIOLIN 2Clara BissJayne SpencerEmer CalthorpeHelen BrownRachel BunnMackenzie RichardsAlice ButcherSusan BowranVIOLAGraeme ScottStephen GilesLiz MaskeySharada MackMichael SchofieldClaudine GuidoinCELLONigel BlomileyRichard BirchallDinah BeamishSimon WaglandLouise McMonagleElisheba StevensBASSCath RickettsPete SmithLowri MorganRachel MeerlooFLUTEGraham MaygerFLUTE/PICCOLOMary ParkerOBOEGraham SalterGwenllian DaviesCLARINETNick CoxHelen PaskinsBASSOONJohn WhitfieldRachel EdmondsHORNRichard WainwrightTim LockeJose LlunaTony CatterickTRUMPETTim HawesPeter WrightTIMPANICharles FullbrookPERCUSSIONChris BlundellMatt TurnerMilton Keynes City Orchestra12President 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, andgave its first performance at Stantonbury Campus Theatre under the baton of its Founder Conductor, HilaryDavan Wetton, in February 1975. The Orchestra aims to promote a balanced programme of live orchestral musicat high professional standards. This is supported by a programme of education and outreach activity – Music forLife – which reaches audiences outside the concert hall who might not attend traditional concerts. The Orchestrais unique in being a professional orchestra which is resident, active, here in Milton Keynes – it plays an importantpart in the cultural life of the city, engaging with the education sector and business community, and is a valuablecommunity and arts resource.Highlights of the Orchestra’s 2010 – 2011 season at Milton Keynes Theatre include: Yamaha supported pianistNoriko Ogawa who will perform the Grieg Piano Concerto in May 2011 as part of the Mayor of Milton Keynes’concert; lush string writing in Barber’s Adagio; a performance by young violinist Simone Porter who is one of the“World’s Greatest Musical Prodigies”; and pomp, circumstance and festivities. The Orchestra will be presentingmore concerts this season than in recent years as it launches “Chamber Roots”, a new season of three smallerscale Orchestra concerts, presented at Stantonbury Campus Theatre. Chamber Roots features young soloistsrecently awarded scholarships by the Yamaha Music Foundation of Europe and repertoire that will provide afascinating contrast with 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 schoolsconcerts, coaching, orchestral training and other creative projects. Recent family music making activities focusedon the theme of Song and Dance” including an education residency with Greenleys First School and GreenleysJunior School, where young people took part in workshops before visiting Milton Keynes Theatre to perform andto experience the Orchestra as part of a family music day; an ensemble of musicians from the Orchestra visitednine local libraries; and the family day at the Theatre included “try it sessions” with instruments, singingworkshops, foyer performances, and young people performing on stage. Recent community working has alsoincluded opportunities for local people to “Sing Together”; early years music sessions and practitioner training;percussion and dance workshops with young adults from SNAP; master classes with Tasmin Little and EmmaJohnson; featuring in the MK Arts Open Weekend; and “brewing up” with Festive Road.Whilst the Orchestra is traditionally committed to Milton Keynes and its environs, it continues to work further afield– performing “Song and Dance” in venues in Luton, Bedford, and Northamptonshire; performing at the GroveTheatre Dunstable; and as part of the English Music Festival at Dorchester Abbey. The Orchestra has alsoundertaken tours to the USA and France. It has released six recordings on the Unicorn-Kanchana and Hyperionlabels. Also under the baton of Hilary Davan Wetton, the Orchestra broadcasted the Classical FM Masterclassseries of introduced works.13 13For booking and information call : 01908 558311

PatronsThe Orchestra would like to thank its Patrons, whose support enables us to keep musiclive, both on 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-SmithFrançoise 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 JamesonMr & Mrs D JenkinsKeith & Heather JenningsMr F X KayMr & Mrs P J KiddleMr W J KingMr & Mrs D KnapmanMrs C E KonigMr L LawSir Bruce and Lady JaneLiddingtonDr 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 MitchellPat & Beryl 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 ChristopherTyrerMr & 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 WoodfineAnonymous14 Great Music LIVE.

Music for LifeEducation and OutreachMilton Keynes City Orchestra’s ‘Music for Life’ programme takes music-makingexperiencesbeyond the concert stage and into the local community – offering high quality,exciting and innovative musical experiences for all. The Orchestra works closely withschools, colleges, family centres and local communities, collaborating with people of allages and abilities and enabling participation in music projects and wider arts working.This year the Orchestra has been working in partnership with Milton Keynes andBedfordshire Libraries with ‘Song and Dance’ – a small chamber ensemble consisting ofthree Orchestra musicians, led by animateur Cathy Kelly. We are grateful to all oursponsors for their kind support which has enabled this project delivery.For further details about our Education and Outreach work please contact:Jackie Allen, Education and Outreach Officer, Milton Keynes City Orchestra,3 Theatre Walk, Central Milton Keynes, MK9 3PX or telephone 01908 558311.15 15For booking and information call : 01908 558311

Forthcoming eventsMilton Keynes Theatre SeasonThe High Sheriff’s ConcertThursday 20th January 2011 at 7.30pmOverture: The NaiadsSterndale BennettViolin Concerto, Op. 64, E minor MendelssohnConcerto GrossoVaughan WilliamsSymphony no. 4, Op. 120, D minor SchumannConductor:Hilary Davan WettonSoloist:Simone Porter, ViolinThis concert will feature young musicians performing‘Side by Side’ in collaboration withMilton Keynes Music Service.‘Palladio’Sunday 10th April 2011 at 7.30pmPalladioJenkinsAdagio for StringsBarberConcerto for Two Violins, BWV1043, D minor BachFantasia on a Theme by Thomas TallisVaughan WilliamsSerenade for Strings, Op. 48, C major TchaikovskyPrincipal Conductor:Soloists:Sian EdwardsDiana Cummings, ViolinGabrielle Painter, ViolinThe Mayor of Milton Keynes’ CharityConcertSunday 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 major ElgarRule, Brittania!Arne, arr SargentCapriccio Italien, Op. 45TchaikovskyFantasia on British Sea SongsWoodFast colours (World Premiere)PowersJuno (UK Premiere)TurnageOverture: 1812, Op. 49TchaikovskyJerusalemParryRule, Brittania!Arne, arr SargeantPrincipal Conductor:Soloist:Sian EdwardsCheryl Hawkins, SopranoSingle Ticket Prices: £32, £28, £23, £19, £14, £10Chamber Roots Season atStantonbury Campus TheatreSaturday 27th November 2010 at 7.30pmSinfonietta no. 2, Op. 65ArnoldClarinet Concerto, Op. 31FinziSymphony no. 27, K.199, G major MozartConductor:Soloist:Hilary Davan WettonHannah Morgan, ClarinetSaturday 19th March 2011 at 7.30pmDivertimenti K.136, D majorMozartBachianas Brasileiras no. 9Villa-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 major MozartSymphony no. 80, D minorHaydnPrincipal Conductor:Sian EdwardsSoloist:Yamaha Music Foundation ofEurope’s 2011 Winner(to be announced), PianoAll Tickets: £18Thrilling Three Concert Series: £45Christmas ConcertWolverton ChurchSunday 5th December 2010 at 6pmThe Symphonic Brass of Milton Keynes CityOrchestra once again returns to Wolverton Churchwith an evening of family festivities.Principal Conductor:All Tickets: £10 (Concessions £5)Sian Edwards16 Great Music LIVE.

StudioEpson proofingPre-Press(Design, layout and CTP system)Press roomDigital print(Canon 7000 SRA3 Press)Lithographic print(Heidelberg B2 and B3 presses)BinderyFolding(Stahl B2MBO B1 tofinished folded size A64pp 16pp 32pp)Automated and hand finishing(Collating,drilling, binding)Binding/bookmaking(Muller Martini 6 station)Special finishes(Spot UV, gloss lamination,matt lamination, die-cuttingand creasing)visualisingyour needsthroughour capabilities...Direct mailMailing fulfilment and personalisationStorage and deliveryOnsite secure facilitiesDirect delivery nationwide and worldwideProductsStationery & business formsBrochures and literatureBooks and manualsBinders & presentersCertificatesPostersCalendars and cardsEnvelopesCITY PRINT (MILTON KEYNES) LIMITED17 DENBIGH HALL, BLETCHLEY, MILTON KEYNES MK3 7QTTEL: +44 (0)1908 377085 FAX: +44 (0)1908 649335sales@cityprint.netwww.cityprint.netCITY PRINT (MILTON KEYN E S) LIMITEDCert no. TT-COC-002204

‘The High Sheriff ’s Concert’Thursday 20 th January 20117.30pm at Milton Keynes TheatreOverture: The NaiadsSterndale BennettViolin Concerto, Op. 64, E minorMendelssohnConcerto GrossoVaughan Williams(includes young people from Milton Keynes Music Service‘side by side’)Symphony no. 4, Op. 120, D minorSchumannGreat MusicConductor: Hilary Davan WettonSoloist: Simone Porterlive.Box Office 01908 558311 Single ticket prices £32, £28, £23, £19, £14, £10