Mayor's Concert Programme.pdf - Milton Keynes City Orchestra

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:24 Page 22 Great Music LIVE.

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:24 Page 3Welcome“Welcome tonight to Milton Keynes CityOrchestra’s Mayor’s Concert, I hope you willenjoy this evening’s programme which features two epicworks. I have been familiar with Grieg’s Piano Concertofor most of my life as it was a great favourite of myGrandfather & we still have that well worn old record.I am indebted to the Milton Keynes City Orchestra forenabling me to round of my Mayoral year in support ofthe two local charities I have been championing thisyear, they are Bletchley Park & Willen Hospice. We havebeen selling tickets for the Mayor’s Draw for a GoldenEgg designed by Sarah Faberge in support of bothcharities and during the concert will be announcing thewinning ticket, so if you have purchased tickets, thankyou – I hope your ticket will be the lucky ticket tonight!Milton Keynes is incredibly fortunate to have a CityOrchestra; they do a huge amount towards the culturaloffer of the City but their work also goes so muchfurther. They support young musicians, work alongsidethose with learning disabilities and the elderly as well astaking classical music into some of the most deprivedareas of the city. This work often goes unreported, but our City Orchestra is a very important part oflife in Milton Keynes, they enrich the lives of our community as a whole.The Mayor of Milton Keynes is a role that lasts only one year and for me my year will end in two daystime, so this is the last major event of the year. I have greatly enjoyed the role, it has been the mostenormous honour to have been given such a privileged insight into just how much goes on in our cityand I would like to take this opportunity to thank everyone I have met this year for the time they havegiven me.I hope you enjoy soloist Noriko Ogawa & the Milton Keynes City Orchestra’s performance tonightunder the excellent baton of the brilliant Sian Edwards.“My warmest regardsPre Concert Charity Receptionkindly sponsored by SantanderDebbieWorking in partnership with MK GalleryFor booking and information call : 01908 558311 3

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:24 Page 4The Extra MileIan Tipping (born 1975)The Extra Mile is subtitled A Fanfare for Orchestra and is a short blast of vibrant, energetic music representative ofthe drive and determination needed to excel in the sporting arena. The title is, besides the obvious turn of phrase, areference to the length of the piece. It lasts just over 5 minutes, which is roughly the length of time it takes a topmarathon runner to cover a mile during the race. It was inspired by the final push needed to complete any sportingchallenge (and by extension any challenge faced in life). The dedication needed in the marathon runner’s mind whenpassing that 25 mile mark to complete the task was an appropriate analogy.The Extra Mile was commissioned as one of three projects for various ensembles taken from within Milton KeynesCity Orchestra, each representing different aspects of sports, the other two projects being part of the Orchestra’sexcellent Education and Outreach programme. All three projects use some of the same thematic material, albeitpresented in very different ways, and the main theme of The Extra Mile which is alluded to throughout but only reachesits full expression just before the end, is that of a song, composed as part of the project. The lyrics express theoverarching theme of the extra mile:-Faster Higher StrongerBetter all the timeHarder Further LongerLess than our best’s a crimeDeeper Clearer WiserBrighter through and throughStriving to surpass ourselvesIn all we do.4Great Music LIVE.

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:24 Page 5Overture: The Barber of SevilleGioachino Rossini (1792-1868)Rossini wrote prolifically and easily for many years, and was thus able to stop composing at the age of forty or so andlive for the remainder of his life on the royalties from his many popular works. It was fortuitous that at the time Rossiniwas writing, the whole of Europe was recovering from the collapse of Napoleon I and trying to laugh again. Rossini’swit came through clearly in his music and was just what the listening public wanted. The Barber of Seville was writtenin the space of three weeks. Rossini was not afraid of repeating himself believing that his music was well worthhearing. He was nicknamed Monsieur Crescendo after his habit of using long, exhilarating crescendos which startedfrom a whisper and rose to a flashing, glittering climax.Originally this overture had nothing to do with the opera. It was composed for Rossini’s serious opera ‘Aureliano inPalmire’. It was a great success and seeing this, Rossini adapted it two seasons later for his opera ‘Elizabetta’. A fewweeks later he composed two more operas and the second, ‘Almaviva’, was performed in February 1816 in Rome. Thiswas ‘The Barber’ but it did not receive this title until August in Bologna. Somewhere between Rome and Bologna fromFebruary to August, the overture was lost. So, for the Bologna premiere Rossini used his ‘Aureliano’ overture for thethird time, which has stuck. Because he wrote it from memory on this occasion it differed in many ways from theoriginal. These differences cause many headaches for conductors now in unifying an interpretation for performance.The Overture begins with a bit of operatic pomp and circumstance before landing into the main part with its mercurial,witty theme. There is a wonderful lilt to the second theme which Rossini uses to build up the characteristic avalancheof excitement, which won him his nickname. © IGS 2010For booking and information call : 01908 558311 55

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:24 Page 6Piano concerto, Op. 16 A minorEdvard Grieg (1843 – 1907)Whilst Norway, like Denmark and Sweden, had been receptive to foreign musical influences through much of theBaroque and Classical periods, it failed (largely due to its peripheral position in relation to the mainstream of Europeanmusic activity) to create any local tradition in which its own composers could have been trained. Hence, Grieg, theforemost Norwegian composer of the nineteenth-century studied at the Leipzig Conservatoire under Carl Reinecke.Written in Denmark in the summer of 1868 and first performed in Copenhagen, this concerto was dedicated to thepianist Edmund Neupert. It appeared a year before Grieg had come into close contact with Norwegian folk-music andtherefore, although it draws on some of the rhythmic patterns of peasant dances, it contains no actual folk tunes.The first movement opens with a flourish by the soloist and leads to a tune introduced by the woodwind, with thestrings supplying punctuation. This theme is expanded by the piano before the cellos and bassoons introduce thesecond subject. Again the piano takes up the theme and makes a swift crescendo toward an entry of the fullorchestra. A rousing development leads into the cadenza which in turn heralds the short coda based on a perkytheme and ending the first movement.The strings play one of Grieg’s most attractive melodies with bassoons and horns adding to the charm of the scoring.The piano adds a rippling theme of its own and at length the soloist and orchestra combine in a repetition of the tune.A magical close of the second movement links into the finale. ©IGS 2011Cantus in Memoriam Benjamin BrittenArvo Pärt (born 1935)Avro Pärt was born in Estonia. His early pieces were written in the style of Prokofiev and Shostakovich, but a majorinfluence on his composition has been an intensive study of medieval polyphony and Gregorian chant, giving his laterwork a simple, mediative, at times almost static quality.The Cantus, for string orchestra, is constructed of the simplest of musical materials, a descending A minor scale.Beginning on the highest A of the first violins, it cascades gradually through the entire string section, like a waterfallin slow motion, until it ends on the lowest A of the double basses. The piece is in the form of a canon, but of a specialtype; Pärt borrows a device from medieval music known as a “mensuration canon”. The theme of the first violins isrepeated in canon by the other strings, but as each successive string group enters, it plays the theme twice as slowlyas the first violins.Throughout the Cantus there is the regular tolling of a bell, also pitched in A.Adapted from a programme note by the late Maurice Dunmore6Great Music LIVE.

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:24 Page 7Symphony No. 5 in C minor Op.67Ludwig van Beethoven (1770 – 1827)Allegro con brio : Andante con moto : Scherzo (Allegro) : AllegroBeethoven’s ‘Fifth’ is one of the landmarks in music’s history. Written in the early years of the nineteenth century, itbecame a prototype of the Romantic symphony. The Fifth was not even Beethoven’s favourite symphony (he preferredthe Eroica). Neither did it immediately become the world’s most famous symphony. During his lifetime the Eroica wasperformed more often and the second movement of the Seventh (movements were often heard separately) wasdeemed “the crown of instrumental music.” But over the course of the 19th century, the Fifth gradually came toepitomize Beethoven’s life and musical style.Beethoven’s one informative comment relates to the first four notes only – ‘Thus does Fate knock at the door’; andit has set critics talking ever since. In the autumn of 1801, at age 30, Beethoven revealed for the first time the secretof his increasing hearing loss and stated in a letter that he would “seize Fate by the throat; it shall not bend or crushme completely.” It has not been difficult to relate such statements directly to his music. The struggle with “Fate” whenit “knocks at the door,” as he allegedly told his assistant Anton Schindler happens at the beginning of the Fifth, helpedendorse the favoured label for the entire middle period of his career: Heroic. The Fifth Symphony, perhaps more thanany of his other symphonies, more than those with explicit extra-musical indications like the Eroica, Pastoral, or Ninth,seems to present a large-scale narrative. According to this view, a heroic life struggle is represented in the progressionof emotions, from the famous opening in C minor to the triumphant C-major coda of the last movement some 40minutes later.Beethoven began writing the Symphony in the spring of 1804, during the most productive period of his career. It tookhim nearly four years to complete. The sketches reveal the opening theme developed in every possible direction asa preliminary to laying out the symphony as a whole. One reason for the great fame and popularity of this Symphonyis that it distills so much of Beethoven’s musical style. One feature is its “organicism,” the fact that all four movementsseem to grow from seeds sown in the opening bars. After the most familiar of openings (Allegro con brio), the piecemodulates to the relative major key and the horns announce the second theme with a fanfare using the “fate rhythm.”The softer, lyrical second theme, first presented by the violins, is inconspicuously accompanied in the lower stringsby the rhythm. The movement features Beethoven’s characteristic building of intensity, suspense, a thrilling coda, andalso mysteries.The slow movement is unique and makes sense only in the context of the other three movements. Although it tookBeethoven months to work out its final form it has a quality of improvisation in stark contrast to the fierceconcentration of thought in the first movement. The theme begins as a regular sentence. A new melody then beginscasually in the home key but bursts unexpectedly into C major with trumpets and drums. Here the relevance of themovement becomes clear – the whole symphony is concerned with the establishment of C major (the unifying factorof the whole work).Beethoven combines the third and fourth movements, which are played without pause. The Allegro scherzo beginswith a soft ascending arpeggiated string theme that contrasts with a loud assertive horn motive (again using the faterhythm). The tension builds with a long pedal point—the insistent repetition of the same note C in the timpani—thatswells in an enormous crescendo directly into the fourth movement, where three trombones, contrabassoon, and apiccolo join in for the first time in the piece. This finale, like the first movement, uses the fate rhythm in the secondtheme. The coda to the Symphony may strike listeners today as almost too triumphantly affirmative as the music getsfaster, louder, and ever more insistent. ©IGS 2011Great Music LIVE.7

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:24 Page 8Sian EdwardsPrincipal ConductorSian Edwards studied at the Royal Northern Collegeof Music and with Professor A.I. Musin at theLeningrad Conservatoire. She has worked with manyof the world’s leading orchestras including LosAngeles Philharmonic, Cleveland, Orchestre de Paris,Ensemble Orchestral de Paris, Berlin Symphony, theFrankfurt Radio Symphony Orchestra, MDR Leipzig,Vienna Symphony Orchestra, Rotterdam Philharmonic,Finnish Radio Symphony, St. Petersburg Philharmonic,Royal Flanders Philharmonic, London Sinfonietta, theHallé, and City of Birmingham Symphony Orchestra.She has a close relationship with Ensemble Modern inGermany.She made her operatic debut in 1986 conductingWeill’s Mahagonny for Scottish Opera and her RoyalOpera House debut in 1988 with Tippett’s The KnotGarden. From 1993 to 1995 she was Music Directorof English National Opera for whom her repertoireincluded Khovanshchina, Jenufa, Queen of Spadesand Blond Eckbert (also recorded on Collins). For theGlyndebourne Festival she has conducted La Traviataand the Ravel Double Bill, and for GlyndebourneTouring Opera Katya Kabanova and Tippett’s NewYear. She conducted the world premiere of MarkAnthony Turnage’s Greek at the Munich Biennale in1988. Recent engagements have included the worldpremiere of Hans Gefors’ Clara for the Opéra Comique in Paris, Cosi fan tutte in Aspen, her return to English NationalOpera for Eugene Onegin, Don Giovanni in Copenhagen, Damnation de Faust in Helsinki, Peter Grimes andTchaikovsky Queen of Spades in Frankfurt; Previn A Streetcar Named Desire and Heggie Dead Man Walking at theTheater an der Wien, Weir A Night at the Chinese Opera for Scottish Opera, Jenufa for Welsh National Opera, Hanseland Gretel for the Royal Academy of Music, Aquarius by Karel Goegvaerts for Flanders Opera, a new ballet, Orlando,for the Staatstheater Stuttgart and, most recently, The Rape of Lucretia for the Theater an der Wien.Sian Edwards’ recordings include Peter and the Wolf, Britten’s Young Person’s Guide, and Tchaikovsky’s 5thSymphony, all with the London Philharmonic Orchestra and Judith Weir’s Blond Eckbert with English National Opera.Recent and future concert engagements include the Ensemble Modern, Bayerische Rundfunk in Munich, SWRSinfonieorchester Freiburg, Kuopio Symphony, Turku Philharmonic, the Frankfurt Radio Symphony Orchestra, MiltonKeynes City Orchestra, Palestinian Youth Orchestra, Edinburgh Youth Orchestra, Musikfabrik, London Sinfonietta,BBC National Orchestra of Wales, concerts at the Edinburgh International Festival as well as a UK tour with the RoyalPhilharmonic Orchestra to celebrate the Queen’s Diamond Jubilee. She has also recently taken part in a new filmby Tony Palmer on Holst. Future operatic engagements include The Rake’s Progress for Scottish Opera and AMidsummer Night’s Dream for the Royal Danish Opera.8Great Music LIVE.

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:24 Page 9Noriko OgawaPianoPhotograph by Satoru MitsutaNoriko OgawaSince achieving her first great success at Leeds International PianoCompetition, Noriko Ogawa has worked with leading orchestras andconductors, such as Dutoit, Vanska, Slatkin and Otaka. Ogawa is alsorenowned as a recitalist and chamber musician, performing with artists suchas Evelyn Glennie. In 2001 Ogawa established a piano duo with Kathryn Stott.Ogawa regularly commissions new works and has performed premieres ofworks by Fujikura and Kanno. Noriko has just been appointed Artist inResidence to Bridgewater Hall in Manchester where she will be artisticdirector for a Debussy/Japan festival (Reflections on Debussy), hosted byBBC Philharmonic and Bridgewater Hall from January-June 2012. Ogawa isan exclusive recording artist for BIS Records. Her discography includesTakemitsu Riverrun (Editor’s Choice - Gramophone Magazine) andMussorgsky ‘Pictures at an Exhibition’ (Critics’ Choice - BBC Music Magazine).Ogawa’s ongoing series with BIS presents the complete solo works for pianoby Debussy, which has already won critical acclaim. Ogawa has received theJapanese Ministry of Education’s Art Prize in recognition of her outstandingcontribution to the global cultural profile of Japan. Since 2004 Ogawa hasacted as artistic advisor for the MUZA Kawasaki Symphony Hall. As a writer,Ogawa has completed her first book (published in Japan) and is a regularcolumnist for the music press both in the UK and in Japan.This series is presented in association withYamaha Europe GmbH (UK)Ian TippingComposerIan was born in Bedford in 1975. He has been composing since his earlyIan Tipping 20s, initially jazz pieces to be played by his own group. More recently, he hasbeen composing serious contemporary classical music, including works forstring quartet, chamber orchestra, choir and symphony orchestra. His twoString quartets both received premiere performances by the Alani StringQuartet at Portsmouth’s New Theatre Royal, receiving enthusiastic reviews inthe Portsmouth News. Both have been performed many times since andcontinue to find favour with audiences and performers alike. Ian has workedfrequently with Milton Keynes City Orchestra’s Education and Outreachdepartment, composing a suite each year since 2008 for schools tours, all ofwhich have been well received. His setting of John Donne’s ‘Go, and CatchA Falling Star’ for unaccompanied choir received a ‘highly commended’ in theHarrogate Vocalis Vaughan-Williams memorial competition of 2008. Ian’sstyle of composition incorporates elements of his eclectic musicalexperiences – hints of Minimalism, Impressionism, Modal Jazz, LatinAmerican rhythms, Eastern European Folk and Rock can all be found in hismusic and he is fascinated by the opportunities of mixing and matching these and other diverse influences into onestyle. His favourite composers include Ravel, Holst, Stravinsky, Ellington, Miles Davis and John Adams.For booking and information call : 01908 558311 9

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:25 Page 10Milton Keynes City OrchestraMilton Keynes City Orchestra gave its first performance under the baton of its Founder, Conductor, Hilary DavanWetton, in February 1975. Over 35 years since, it has built a national reputation, establishing itself as the live classicalmusic resource for Milton Keynes and the surrounding area. The Orchestra is unique in that it is a professionalorchestra which is resident, active, here in Milton Keynes – it plays an important part in the cultural life of the city,engaging particularly with the education sector, the business community and as a valuable arts resources.The Orchestra presents an annual concert season with a series of concerts at Milton Keynes Theatre. This season’shighlights include: “Last Night . . .” – a programme featuring some of the iconic repertoire associated with flag wavingand promenading, Tchaikovsky’s 1812 Overture, Elgar’s Pomp and Circumstance, and Wood’s Fantasia on BritishSea Songs as well as the UK Premiere of Turnage’s Juno and the World Premiere of Powers’ Fast Colours. TheOrchestra has also launched “Chamber Roots” a new series of small orchestral concerts presented at StantonburyCampus Theatre, featuring young Yamaha soloists and chamber works including, Mozart’s Piano Concerto no. 17and Haydn’s Symphony no. 80.Members of the Orchestra regularly work within the community enabling people of all ages and experiences toparticipate and enjoy music making though practical workshops, composition projects, family and schools concerts,coaching, orchestral training and other creative projects. The Orchestra frequently collaborates with the DanesboroughChorus and Milton Keynes Chorale; and smaller ensembles regularly perform in the city including at the OpenUniversity, John Lewis, Milton Keynes Central Station, The University Centre as well as for many private and Corporateevents.Whilst the Orchestra has been traditionally committed to Milton Keynes and its environs, it continues to work furtherafield – performing as part of the English Music Festival at Dorchester Abbey and a touring “Song and Dance” inBedfordshire venues. The Orchestra has also undertaken tours to the USA and France. It has released six recordingson the Unicorn-Kachana and Hyperion labels. Also under the Baton of Hilary Davan Wetton, the Orchestra broadcastthe Classical FM Masterclass series of introduced works.10 The City’s own...

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:25 Page 11Milton Keynes City OrchestraVIOLIN 1Diana CummingsJoan AthertonSue KinnersleyMarina SolarekJeremy SampsonGillian BrightwellPhilip GibsonMelanie HornsbyCheryl GaudianoSuzanne EvansVIOLIN 2Elzabeth WilsonMartin GillHelen BrownRachel BunnMichiko NegamiHelen BartlettAlice ButcherElana EisenVIOLAGraeme ScottLynne BakerStephen GilesLiz MaskeySharada MackWendy JonesCELLOBozidar VukoticPhillip TaylorToby TurtonAnne WaddingtonDinah BeamishHarry NapierBASSPeter SmithLouis GarsonJackie DossorDavid AyreFLUTEGraham MaygerSusie Hodder WilliamsMary ParkerOBOEMalcolm MessiterEugene FieldCLARINETWilliam StaffordHelen PaskinsBASSOONJohn WhitfieldOliver GallettaCONTRA BASSOONTom HardyHORNRichard WainwrightTim LockeTRUMPETTim HawesPeter WrightTROMBONEDave WhitehousePhil JudgeBASS TROMBONEBrian LynnTIMPANICharles FullbrookPERCUSSIONGlyn MatthewsPresident 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 Christina Holmes Registered in England Number: 1268436Great Music LIVE. 11

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:25 Page 12 In a small workshop in Hamamatsu, Japan, a dedicatedteam of specialist craftsmen create what many leadingpianists consider to be the finest pianos in the world.This is the birthplace of Yamaha’s Premium Piano range;the magnificent CFIIIS Concert Grand, the S6 and the S4.Employing the skills, traditional techniques and meticulousattention to detail that only come with many years’experience, Yamaha artisans make no compromise in theircommitment to achieving piano perfection.Find out more at www.premiumpianos.com

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:25 Page 13Patrons Club - Supporting the OrchestraThe Orchestra’s Patrons’ Club has existed since Milton Keynes City Orchestra began some thirty five years ago. Itsupports the Orchestra by raising funds, while enabling members to become more involved in the Orchestra. Yoursupport is a charitable donation, which is vital in enabling the Orchestra to thrive and continue its activities both onthe concert platform and within the wider community which include:●●Continuing its ‘Music for Life’ programme of education work in the local area.Making a broad spectrum of classical music easily accessible to all.To join the Patrons’ Club please contact Donald Edwards in the Orchestra’s office on 01908 558311 ordonald.edwards@mkco.org New membership is a minimum donation of £120.For booking and information call : 01908 558311 13

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:25 Page 14Our 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 LlewellynJan 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.

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:25 Page 15Music for Life - Education and OutreachMilton Keynes City Orchestra’s ‘Music for Life’ programme takes music-making experiences beyond the concert stageand into the local community – offering high quality exciting and innovative musical experiences for all. The Orchestraworks closely with schools, colleges, family centres and local communities, collaborating with people of all ages andabilities and enabling participation in music projects and wider arts working. The Orchestra have worked each year, for thelast 3 years with composer Ian Tipping who has been commissioned each year to write a suite of music for a smallensemble, working on a chosen theme to enable easy access and appeal for children and families. The first of thesecommissions toured in 2008 with a suite of music entitled ‘Birds’. This was followed by ‘Creatures’ in 2009 and ‘Songand Dance’ in 2010. Each of these suites of music have toured Libraries in Milton Keynes and surrounding areas, localFamily Centres, schools and even groups of elderly residents in sheltered housing schemes in Milton Keynes. Our newcomposition for 2011 is now complete and will combine the musicians of Milton Keynes City Orchestra with storytellerMaggie Webber who will deliver ‘Harry’s Sporting Dram’. A music and story journey aimed at preschool children and theirfamilies.For further details about our Education and Outreach work please contact: Jackie Allen, Education andOutreach Officer, Milton Keynes City Orchestra, 3 Theatre Walk, Central Milton Keynes, MK9 3PX,telephone 01908 558311 or email Jackie.allen@mkco.orgFor booking and information call : 01908 558311 15

95003 May 2011 programme text.qxd:Layout 2 11/5/11 08:25 Page 16Forthcoming Events‘Last Night...’MILTON KEYNES THEATREFriday 24th June 2011 at 7.30pmProgramme to includeFestive Overture, Op. 96 ShostakovichPomp and Circumstance March no. 1,D majorElgarJuno (UK Premiere)TurnageOverture: 1812, Op. 49TchaikovskyJerusalemParryRule, Brittania!Arne, arr SargeantPrincipal Conductor:Sian EdwardsSoloist:Cheryl Hawkins, SopranoSingle ticket prices:£32, £28, £23, £19, £14, £10Chamber RootsSTANTONBURY CAMPUS THEATRESaturday 28th May 2011 at 7.30pmSkemptonThe Light FantasticPiano Concerto no. 17, K. 453, G major MozartSymphony no. 80, D minorHaydnPrincipal Conductor:Sian EdwardsSoloist:Qiaojing Dai, PianoYamaha Music FoundationEurope 2011 WinnerAll Tickets: £1823rd BUCKINGHAM SUMMER FESTIVAL2nd to 9th July 2011SEVENTEEN CONCERTS IN ONE WEEKSAT JULY 2THBuckingham Choral SocietyMON JULY 4THCraig Green:Piano recital 11.00Paul Harris 1.00Pizzetti Trio 8.00TUE JULY 5THHaruko Seki:Piano recital 11.00Robert Secret 1.00Demon Barbers 8.00WED JULY 6THMami Shikimori:Piano Recital 11.00Antonia Kesel 1.00Maurizi Ensemble 8.00THUR JULY 7THNathan Williamson:Piano recital 11.00Jenny Broome &Frances Mason 1.00Wicked Women 8.00FRI JULY 8THNing ChaipornPookhaothong:Piano recital 11.00Piano Trio 1.00Ashu 8.00.SAT JULY 9THGALA CONCERT 8.00Orchestra of Stowe OperaVaughan-WilliamsElgarBarber16 Great Music LIVE.For more information see: www.buckinghamfestival.orgFestival office 12 Bristle Hill Buckingham MK18 1EZ Tel: 01280 813834e-mail: bsfestival@btinternet.com

95003 May 11 prog COVERS.qxd:Spreads 11/5/11 08:30 Page 3StudioEpson 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

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