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Flute<br />
Harry Winstanley<br />
Rosanna Ter-‐Berg<br />
Jane Thomason<br />
Louisa <strong>The</strong>art<br />
Piccolo<br />
Claudia Tiller<br />
Oboe<br />
Fiona Myall<br />
Claire Taylor-‐Jay<br />
Jason Klimach<br />
Cor Anglais<br />
Chloé Greenwood<br />
Clarinet<br />
Max Welford<br />
Emma Burgess<br />
Jessamy Holder<br />
Anna Hashimoto<br />
Chris Turner<br />
Bassoon<br />
Freddie Scadding<br />
Ash Myall<br />
Philip Le Bas<br />
Stephen Garmin<br />
Horn<br />
Anna Drysdale<br />
Lorenzo Bassano<br />
Matthew Sackman<br />
Tom Brett<br />
Daniel Fletcher<br />
Trumpet<br />
Niall Mulvoy<br />
Phil Smith<br />
Andy Congdon<br />
Paul Bosworth<br />
Trombone<br />
William Brown<br />
Melissa Brown<br />
Nick Prince<br />
Tenor Horn<br />
Isla Cameron<br />
Tuba<br />
Nick Newland<br />
Violin I<br />
Julia Loucks<br />
Taro Visser<br />
Jeong Hyun Kim<br />
Kenji Kato<br />
Yean Chooi<br />
Iain Gibbs<br />
Keith Penfold<br />
Helen Naylor<br />
Aneesa Verik<br />
Deevarna Verik<br />
Nicky Enderby<br />
Tom Budden<br />
Violin II<br />
Rebekah Harper<br />
Chan Ning Lee<br />
Jonathan Silver<br />
Lyndsey Steere<br />
Eugene Chang<br />
Yvonne Wang<br />
Chuan Teo<br />
Yin Shan Ho<br />
Ose Pedro<br />
Catherine Thomson<br />
Viola<br />
Jordan Sian<br />
Michael Bennett<br />
Carl Fulbrook<br />
Steph Preston<br />
Mark Gibbs<br />
<strong>The</strong> <strong>London</strong> <strong>Mahler</strong> <strong>Orchestra</strong><br />
Cello<br />
Amy Gould<br />
Robin Tyler<br />
Bethan Lloyd<br />
Alex Eichenberger<br />
Mercedes Malcomson<br />
Hilary Wood<br />
Vicki Solly<br />
Lily Thornton<br />
Double Bass<br />
Sophie Roper<br />
William Cowley<br />
Dominic Nudd<br />
Adam Higgs<br />
Harp<br />
Cecilia Sultana De Maria<br />
Guitar<br />
Clifford Talbot<br />
Mandolin<br />
Hilary Wood<br />
Timpani<br />
Jack Fawcett<br />
Percussion<br />
Christopher Rowland<br />
George English<br />
Thank You<br />
Keith Penfold<br />
Naseer Rayasat<br />
Hilary Wood<br />
UK <strong>Mahler</strong> Society<br />
St John’s, Waterloo<br />
St Stephen’s, Gloucester Road<br />
St Mary’s, Putney<br />
Contact Us<br />
mahlerorchestra@gmail.com
It is my great pleasure to welcome you to this performance of <strong>Mahler</strong>'s Symphony No.7 this<br />
evening. This is my second collaboration with this orchestra and the latest in the series of<br />
<strong>Mahler</strong> concerts founded by Keith Willis. <strong>The</strong> orchestra and I met for the first time on Friday<br />
evening and we've had a wonderful time learning this music together, culminating in tonight's<br />
performance.<br />
<strong>The</strong> series of concerts was started by Keith some eleven years ago, and has brought hundreds of<br />
musicians together through the music of <strong>Mahler</strong>. Sadly Keith fell ill last summer and was<br />
diagnosed with a terminal brain tumour, at which point he asked me to stage a performance of<br />
<strong>Mahler</strong>'s Ninth Symphony for him, so that the series might be complete. It was an enormous<br />
privilege to be able to do that in January this year and even more special that he was able to be<br />
there, with his family, to listen to almost one hundred musicians, many of whose musical lives<br />
he helped shape and develop.<br />
Following that performance there was still a huge enthusiasm for the project and it seemed only<br />
right that we should try and continue the work that Keith began. Sadly Keith lost his fight with<br />
cancer and passed away on February 25th this year. He will be sorely missed and we would like<br />
to dedicate this performance to his memory.<br />
This concert represents something of a first step for us, officially forming the <strong>London</strong> <strong>Mahler</strong><br />
<strong>Orchestra</strong> and undertaking to stage three performances a year. We are launching a website and<br />
a database of musicians keen to perform whenever they are able. Everyone here gives their time<br />
for nothing, purely for the music of <strong>Mahler</strong> and I owe a great deal of thanks to all the players and<br />
everyone involved.<br />
Special thanks must go to Mercedes Malcomson and Nick Newland who have managed this<br />
event in its entirety.<br />
It seems only fitting that all profits from <strong>London</strong> <strong>Mahler</strong> <strong>Orchestra</strong> concerts will go to Cancer<br />
Research UK.<br />
I very much hope you enjoy the performance.<br />
Daniel Capps<br />
Introduction<br />
Gustav <strong>Mahler</strong> -‐ Symphony No.7 (1904/5)<br />
I. Langsam -‐ Allegro con fuoco<br />
II. Serenade (Nachtmusik)<br />
III. Schattenhaft<br />
IV. Serenade -‐ (Nachtmusik)<br />
V. Rondo -‐ Finale<br />
Programme Notes<br />
<strong>The</strong> first movement is in sonata form, beginning with a funeral introduction and a dark melody<br />
played on a baritone horn. Bitter and anguished cries emerge from the woodwind and brass<br />
leading to a passionate climax. <strong>The</strong> pace quickens and the music launches into a strangely<br />
confused dance -‐ part Viennese waltz, part grotesque stomp, and part militaristic march -‐ which<br />
yields to a lyrical theme introduced by a pair of horns. An abrupt return to the double basses<br />
heralds an inexorable build-‐up, which only finds its final resolution in the brisk and robust, but<br />
curiously bitter-‐sweet, march with which the movement ends.<br />
<strong>The</strong> second movement opens with horns calling to each other across the<br />
mountain valleys in the gathering dusk. <strong>The</strong> first of the two 'Night Music' movements sees<br />
scampering woodwind pass off into the distance as the horns introduce a rich, somewhat bucolic<br />
theme, surrounded by dancing strings. <strong>The</strong> rural mood is heightened by a gentle, rustic dance –<br />
so typical of <strong>Mahler</strong> -‐ as well as by high fluttering woodwind bird-‐calls and the gentle clanking of<br />
distant cow-‐bells. At the end, the movement gradually descends into the silence of night.<br />
<strong>The</strong> scherzo, marked 'shadowy' has a fascinating quality of being both<br />
harmless and genuinely sinister, a most morbid and sarcastic mockery of the Viennese waltz.<br />
Eerie timpani and low wind instruments set off on a threatening dance macabre, complete with<br />
unearthly woodwind shrieks and ghostly shimmerings from the basses. <strong>The</strong> imaginative<br />
orchestration gives this movement a distinctly nightmarish quality.<br />
<strong>The</strong> second nocturne, marked 'amorous' and with reduced instrumentation, has been described<br />
as 'a long stretch of chamber music set amidst this huge orchestral work'. A solo violin<br />
introduces the movement with an ambiguous phrase which could be the beginning or the end of<br />
something, a delightful piece of Haydn-‐like wit. Its flecks of guitar and mandolin evoke a magical<br />
serenade.<br />
Boisterous timpani, joined by blazing brass, set the scene for the riotous fifth movement.<br />
Formally, the movement is a rondo that acts as the theme for a set of eight variations, capped<br />
off by a dramatic coda. Its virtually unrelenting mood of celebration seems quite at odds with<br />
the dark character of the earlier movements – “a vigorous life-‐asserting pageant of <strong>Mahler</strong>ian<br />
blatancy”, is how Michael Kennedy describes it. For his part <strong>Mahler</strong> described it simply as a<br />
depiction of "broad daylight".<br />
Not to have <strong>Mahler</strong>’s neurotic ego at the centre of one of his works is unusual. Overall, the<br />
symphony gives a sense of a pageant, depicting a journey from dusk till dawn observed<br />
objectively from afar, with a mocking and affectionate eye, rather than entered into.<br />
Often described as <strong>Mahler</strong>’s most glamorous symphony, it is certainly quite different from all the<br />
others.
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