Download Concert Programme - Brighton Philharmonic Orchestra

BPO Programme (v2) 24 OCT 2010:Layout 1 24/10/10 08:55 Page 1 

86 th 

Concert Season 

October 2010 – March 2011 

Sunday 24 October 2010 

Brighton Dome Concert Hall


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Welcome to the Brighton Philharmonic 

Orchestra’s 86 th Concert Season 

Today we have two familiar works 

and a third which is something of 

a novelty. I make no apology for 

playing the familiar. The reason why 

certain works receive more 

performances than others is their 

universally appreciated quality, and 

that is something to celebrate. They 

attract more performances because 

there is always something new to 

discover in them, largely because as 

we become more and more familiar 

with them we view them from a 

different perspective, and in greater 

depth. 

But I also make no apology for 

presenting the Nielsen... there are 

many works which are less often 

performed than they deserve, and 

this concerto has been a favourite of 

mine since my student days, when I 

did a lot of work accompanying 

fellow students on the piano when 

they were learning concertos which 

they would then hope to perform 

with an orchestra. This concerto is 

remarkable for its abrupt contrast of 

light hearted jollity, and naive turn of 

phrase, with moments of dark drama, 

and I am thrilled that we have asked 

Christine, our orchestra's principal 

flute, to play this work for you today. 

We have already worked on this 

concerto together and as you will 

soon hear, we have a soloist whose 

love of this work, combined with her 

consummate musicianship, guarantees 

us a memorable concert. 

I hope you will enjoy this mix of the 

more and less familiar, as it is 

something of a feature of our 

programming this season. 

Barry Wordsworth 

MUSIC DIRECTOR/PRINCIPAL CONDUCTOR


There are many ways that 

you can support the BPO: 

The BPO needs your support 

because without it, there 

would be only half a season! 

With anything from 45 to 100 highly experienced 

professionals on stage for every concert, a season 

of BPO concerts costs almost £1/2million. Yet even 

if every seat was sold for every concert the income 

from ticket sales would only cover around 60% of 

these costs. 

Without the support of its Friends, Patrons and 

Sponsors, the BPO could not have survived for 

more than 80 years at the heart of the city’s musicmaking 

- your support can help it remain there. 

Brighton is privileged to have an 

orchestra of such quality on its doorstep 

MID SUSSEX TIMES 

• Become a Friend for an annual 

subscription of £18 or a Life Friend for 

a one-off donation of £300. 

• Become a Patron for an annual 

subscription of £140. 

• Sponsor a position in the orchestra 

from £300. 

• Jointly or fully sponsor a concert from 

£500. 

• Leave a bequest in your will to the 

Brighton & Hove Philharmonic Society 

(registered charity no.250921). 

For details of how to sponsor a concert 

or a position in the orchestra, or to 

become a Friend, Life Friend or Patron, 

please contact: 

Judith Clark, 

General Manager 

Brighton Philharmonic Orchestra 

41 George Street 

Brighton BN2 1RJ 

Tel: 01273 622900


Grieg 

Peer Gynt Suite no 1 [15'] 

Nielsen 

Flute Concerto [19'] 

Sunday 24 October 2010 

Brighton Dome 

Concert Hall at 2.45PM 


conductor 

Christine Messiter 

flute 

Interval [20 minutes] 

Dvořák 

Symphony no 9 in E minor 

(From the New World) [40'] 

This concert is sponsored by the family 

and friends of Mrs Angie Baker, 

in loving memory. 

Unwanted noise in the auditorium can be distracting for the rest of the audience and the performers. Please try to restrain coughing 

until the normal breaks in the performance, and if you have a mobile telephone or digital watch alarm ensure that it is switched off. 

Please note that the Brighton Dome Concert Hall does not have an induction loop. If you wish to use the Sennheiser infra-red assisted 

hearing system, headsets can be obtained from the Box Office (book in advance to ensure availability) and used in place of a hearing aid.


Programme 

notes 

BY PETER BACK © 2010 

Peer Gynt Suite No. 1 

Edvard Grieg (1843 – 1907) 

Morning 

The Death of Ase 

Anitra’s Dance 

In the Hall of the Mountain King 

The hero of Peer 

Gynt, Henrik Ibsen’s 

extraordinary 

verse-drama, is a 

vain, boastful 

egotist and a 

chronic liar. Peer 

Gynt is part satire, 

part philosophical 

meditation and 

part knockabout 

comedy. When 

Ibsen decided to 

adapt Peer Gynt 

for the stage, he sought from the outset 

the collaboration of Edvard Grieg, already in 

his early thirties Norway’s leading composer. 

For the first performance in 1876 and for 

subsequent revivals, Grieg wrote altogether 

some twenty-three items of incidental 

music. Later he revised and re-orchestrated 

eight of them to form two suites for the 

concert hall. 

Peer Gynt lives alone with his aged mother, 

Ase. He invades the wedding ceremony of 

his former girlfriend, Ingrid, whom he 

abducts to the mountains. She deserts him 

and he becomes an outlaw. Attacked by 

trolls in the hall of the mountain king, he is 

saved only by the sound of church bells 

and the trolls take flight. He sets up home 

in a hut in the woods where he is followed 

by the lovely Solveig, who is in love with 

him. He deserts her, returning home in 

time for the death of his mother. He 

spends many years in America, Morocco 

and Egypt before returning home an old, 

wasted man, who finds redemption 

through the constancy and devotion of 

Solveig. 

For many, Morning conjures up a picture of 

a fresh, sunlit Scandinavian morning. In 

the drama, it accompanies Peer Gynt in 

Africa, no longer a Norwegian mountain 

lad but an opportunist middle-aged 

capitalist. Muted strings and a simple, 

repeated rhythmic pattern provide a 

moving musical background for the Death 

of Ase. Anitra’s Dance is an exotic mazurka 

for muted strings and triangle, danced by a 

Bedouin chief’s daughter with whom Peer 

dallies during his African adventures. In the 

Hall of the Mountain King accompanies 

Peer’s terrified escape from the malignant 

trolls of the Norwegian uplands. 

Flute Concerto 

Carl Nielsen (1865-1931) 

Allegro moderato 

Allegretto – Adagio ma non troppo – 

Allegretto – Tempo di marcia 

Carl Nielsen was born into a large and 

extremely poor family on the island of Fyn, 

off the coast of Denmark. A primitive 

feeling for nature, implanted in him during


his childhood 

years, gave him a 

sense of identity 

with the Danish 

soil. He distilled 

the essence of 

the Danish 

temperament in 

music with an 

unsentimental 

directness of 

expression. His 

music is 

disciplined, with 

constructive 

clarity as well as 

humanity and 

warmth. 

He was an independent thinker and it is 

totally in character that he developed an 

individual style that went against the 

trends of the day. He had a genuine 

concern for the integrity of his art, 

believing that a composer reveals himself 

through his music. He wrote about ‘the 

riddle of why music . . . both reveals and 

rewards its man [the composer]. If he aims 

high, it helps him . . . But if he is stupid, 

conceited, commonplace or sentimental, 

the fact will be revealed with almost brutal 

clarity.’ 

Around the early 1900s Nielsen began to 

structure his works more on classical lines 

while continuing to draw on the late 

Romantic idiom, merging it with current 

trends in orchestration, chromaticism and 

atonality. His music can move from the 

calmly ecstatic to the tempestuous, 

sometimes quite suddenly. Such 

unpredictability is an inevitable aspect of 

his humanity. The emotional content is 

always easy to identify with, as one would 

expect from a man who felt himself to be 

just like any other man. 

Having composed his wind quintet in 1922, 

Nielsen planned a series of solo concertos 

for each of the wind quintet instruments. 

He managed to complete only two, one for 

flute and the other for clarinet. His preoccupation 

with the individuality of 

instruments is summed up in a statement 

he made around this time: ‘I think on the 

basis of the instruments themselves – in a 

way I creep into them. One can very well 

say that the instruments have a soul . . .’ 

Nielsen completed the Flute Concerto in 

1926; it was premièred in Paris with Ravel 

and Honegger in the audience. The 

Concerto was written for Holger Gilbert 

Jespersen, a man who cherished 

refinement and hated vulgarity. 

Surprising therefore to find a bass 

trombone introduced into a ‘respectable’ 

orchestra of Mozartian proportions. Was 

this Nielsen’s joke at Jespersen’s expense? 

The trombone attempts to disrupt the 

serious, pastoral mood of the opening – 

much to the flute’s evident chagrin. 

Sanity is restored and the flute alone and 

in dialogue with others (especially the 

clarinet) indulges in some exquisite 

passages of musical poetry. The second 

movement opens with an allegretto that 

alternates with a powerful adagio until 

the bass trombone interrupts once more 

with a march tune. In the brilliantly 

innovative conclusion the trombone 

assists the flute but has a final joke with 

some very ‘improper’ glissandi.


Programme 

notes 

BY PETER BACK © 2010 

Symphony No. 9 in E 

minor ‘From the New 

World’ 

Antonín Dvořák (1841-1904) 

Adagio – Allegro molto 

Largo 

Scherzo: Molto vivace 

Allegro con fuoco 

Dvořák thought 

long and hard 

before going to live 

and work in 

America. Earlier, on 

the advice of 

Brahms, he had 

contemplated a less 

radical move to 

Vienna. But he was 

a Czech artist, with 

a strong attachment to his homeland, so 

such a move was never seriously 

considered. He was widely known of 

course, particularly in England where 

enthusiasm for his music had played a 

major part in establishing him as an 

international figure. 

Dvořák was not an adventurous man. 

When going on a long journey he insisted 

on not travelling alone and needed 

constant reassurance about travel 

arrangements. Anxious by nature, he 

began to show signs of agoraphobia later 

in life and even refused to cross the streets 

of Prague without the assistance of one of 

his students. He was also something of a 

hypochondriac; he worried that the 

cold weather might affect him in Moscow 

and was disturbed by reports of an 

influenza epidemic in England. A move to 

the ‘New World’, therefore, was not 

undertaken lightly. 

When, in the spring of 1891, Dvořák 

received a telegraph offering him a post in 

New York, it is hardly surprising that he 

turned it down without much thought. 

But Mrs Jeannette Thurber, the wife of a 

millionaire grocer, was not easily put off. 

She was a great philanthropist – she had 

founded the American Opera Company 

and the National Conservatory of Music of 

America. In June she sent another 

message: 'Would you accept Director 

National Conservatory of Music New York 

October 1892 also lead six concerts of your 

works.' She was confident that Dvořák 

could realise her dream of establishing a 

national American school of composition. 

After a great deal of negotiating he agreed 

to accept the position, initially for two years. 

Understandably he was anxious about 

what lay ahead. Sadly, he would be parted 

from his four older children and he would 

miss his friends and the country that 

meant so much to him. On the other hand 

he realised there would be many valuable 

and rewarding experiences ahead and that 

much was to be gained by plunging into 

the unknown. So, with a great deal of trepidation, 

Dvořák began his great American 

adventure. 

From New York, on 12 April 1893, Dvořák 

wrote: ‘I have just finished a new 

symphony in E minor. It pleases me very



Music Director/Principal Conductor 

much and will differ very substantially 

from my earlier compositions. Well 

the influence of America can be felt by 

anyone who has a nose.’ The 

influence that he mentions refers to 

his discovery of Negro spirituals and 

the plantation songs of Stephen 

Foster, and also in the songs of the 

North American Indians. None of his 

memorable themes are real folk 

melodies but it is clear that Dvořák 

absorbed the feeling of the spirituals 

and plantation songs that he heard. 

Many years earlier Dvořák had read 

Longfellow’s Song of Hiawatha in a 

Czech translation. In New York he 

became seriously interested in 

composing an opera on this subject 

but did not get beyond a few 

preliminary sketches. The funeral of 

Minnehaha in the forest, however, 

was to inspire the symphony’s famous 

slow movement, a movement that 

also carries with it a tangible element 

of homesickness, something that 

seems to permeate all of Dvořák’s 

‘American’ compositions. 

The Symphony in E minor ‘From the 

New World’ was the first work Dvořák 

wrote on American soil and its 

première was one of the most 

outstanding triumphs of his life. It 

was, as the Americans themselves 

appreciated, an event of historic 

importance. Dvořák was in America 

to help foster ‘a new American school 

of music’ – to help American 

composers find a national voice. 

He achieved this and much more. 

Barry Wordsworth is Music Director of the Royal Ballet 

Covent Garden, having previously held the position 

from 1990–1995. He has also been Music Director and 

Principal Conductor of the BPO since 1989, and in 2006 

became Conductor Laureate of the BBC Concert 

Orchestra, having served as its Principal Conductor 

since 1989. From 2005–2008 he was Music Director of 

Birmingham Royal Ballet. 

In 1989, Barry Wordsworth made his first televised 

appearance at the BBC Proms, and has conducted the 

BBC Concert Orchestra regularly in subsequent seasons 

of the Proms. He has also toured extensively with 

the orchestra, including tours to Japan and the USA for 

their 50th Anniversary in 2002. 

Highlights in recent seasons have included guest 

appearances with the Royal Concertgebouw Orchestra, 

Toronto Symphony, Seoul Philharmonic, Guangzhou 

Symphony, Rotterdam Philharmonic, New Zealand 

Symphony and Sydney Symphony. In the UK, he has 

conducted the Philharmonia, London Symphony 

Orchestra, City of Birmingham Symphony Orchestra, 

Royal Philharmonic Orchestra and BBC National 

Orchestra of Wales. 

In addition to his symphonic career, he has enjoyed a 

long and close relationship with the Royal Ballet and 

the Birmingham Royal Ballet and in recent seasons 

has also conducted the New National Theatre Tokyo, 

Leipzig Ballet and the ballet of the Opéra National de 

Paris. 

He has a large catalogue of recordings, including a 

long association with Argo/Decca International. His 

recording of the ‘Last Night of the Proms’ achieved 

enormous popular success and his most recent release, 

with Bryn Terfel and the LSO, won a Grammy 

Award in 2007. 

He holds honorary doctorates from the University of 

Brighton and the University of Central England, and in 

2006 was made an Honorary Fellow of Trinity College 

of Music.


John Bradbury 

leader 

John Bradbury, 

Leader of the 

Brighton 

Philharmonic 

Orchestra, is a 

Fellow of the 

Royal Manchester 

College of 

Music where he 

studied with 

four eminent 

violinists : the 

concerto 

soloists Endre 

Wolf, Manoug 

Parikian and Georgy Pauk, and finally with 

Alexandre Moskowsky of the Hungarian String 

Quartet. 

Within a year of leaving College he was 

appointed Leader of the BBC Midland Light 

Orchestra which was then conducted by Gilbert 

Vinter. During this time he embarked upon the 

first of many broadcast recitals with his wife, 

the pianist Eira West, and also performed a 

wide range of solos with the orchestra. 

He then transferred to the City of Birmingham 

Symphony Orchestra as their Leader combining 

duo, trio and quartet recitals with numerous 

concerto and solo performances before moving to 

London to lead the BBC Concert Orchestra. The 

ensuing seven years of BBC broadcasting ensured 

that the name John Bradbury was so well-known 

that he was able to turn freelance, and this has 

led to a wealth of diverse opportunities that 

would not otherwise have been possible. 

In addition to guest leading for all the major 

London Symphony Orchestras John’s busy 

freelance schedule has encompassed a great 

deal of commercial studio work including 

leading for all the James Bond movie sound 

tracks made since 1998. He was the founder 

leader of the Royal Philharmonic Pops Orchestra 

under the baton of Henry Mancini, and has 

toured extensively as leader for Dame Shirley 

Bassey, Lesley Garrett, Russell Watson and 

Andrea Bocelli. Equally fascinating was a year 

as Leader of Les Misérables at the Palace 

Theatre, London. More recently John was 

engaged by the Royal Philharmonic Orchestra 

to lead the ‘Star Wars in Concert’ tours of 

America and Europe. 

His ten year appointment in 1986 as Director of 

Johann Strauss Gala performances for 

Raymond Gubbay Ltd was especially rewarding, 

and John’s expertise in this multi-talented form 

of entertainment is now well-known through 

the many exciting and highly acclaimed 

concerts he has presented throughout the UK 

and abroad. 

Besides regular appearances as Leader of the 

Brighton Philharmonic Orchestra, John has 

conducted a number of concerts in the Dome, 

and has performed many exciting violin solos 

including works by Ysaye, Paganini, Kreisler, 

Tchaikovsky, Mozart, Bruch, Vivaldi and 

Saint-Saëns. 

Christine Messiter flute 

Christine's musical 

life began with a 

3-keyed wooden 

piccolo, which she 

taught herself to 

play. A flute was the 

next instrument to 

attempt to master, 

and she continues 

to meet that 

challenge still. 

Lessons with Sir 

James Galway, while she was still at school, led 

to an Exhibition to the Royal College of Music in 

London, where she studied with Edward Walker 

and Douglas Whittaker. She graduated winning 

the RCM's top flute prize and the Mozart 

Memorial Prize that resulted in several concerto 

appearances with the London Mozart Players. 

She has also recorded concerti with the 

Philharmonia orchestra. 

Her orchestral career began as Sub-principal 

Flute with the Bournemouth Symphony 

Orchestra. She was offered the same position 

with the BBC Symphony Orchestra one year 

later and then the position of Co-principal Flute 

with the BBC Symphony Orchestra. Several years


later she was appointed Principal Flute with 

the Academy of St Martin-in-the-Fields. 

She now freelances, working with all the 

major British Symphony and Chamber 

orchestras, the Royal Opera House, the 

Alberni, Allegri and Kandinsky string quartets 

and Endymion and Capricorn Ensembles. 

She has taught at the Welsh College of Music 

and Drama, examined at the Royal Academy 

and Royal College of Music and given master 

classes in Europe and China. 

Recently she performed the Mozart Flute and 

Harp Concerto with Sioned Williams and has 

just returned from Colombia where she 

performed at the International Music Festival 

in Cartagena. 

Brighton Philharmonic 

Orchestra 

The Brighton Philharmonic Orchestra was 

formed by Herbert Menges in May 1925 as the 

Symphonic String Players ‘to become a large 

and powerful String Orchestra, and to give 

periodical concerts of a high standard in 

Brighton and Hove’. 

By 1928 they had already moved into the 

Brighton Dome and become the fully orchestral 

‘Symphonic Players’. Menges remained as 

Principal Conductor and in 1932 Sir Thomas 

Beecham was appointed as the orchestra’s 

first President (a position later held by Ralph 

Vaughan Williams and Benjamin Britten). 

In 1972, after 47 years as Principal Conductor 

and having conducted more than 300 

concerts, Herbert Menges died at the age of 69. 

His successor was John Carewe, whose first 

concert as Principal Conductor marked the start 

of the orchestra’s 50th Anniversary season. In 

1989 Barry Wordsworth was appointed as only 

the third Principal Conductor in the BPO’s 

history. Barry’s distinguished tenure at the 

helm has been marked by a series of notable 

performances of both well-known and more 

unfamiliar works together with a roster of 

accomplished and distinguished soloists. 

This and recent seasons have seen premières of 

new works by Will Todd, Richard Rodney 

Bennett, Martin Butler and Howard Goodall 

together with a series of all the Beethoven 

Symphonies and regular collaborations with 

the Brighton Festival Chorus and Brighton 

Festival Youth Choir. 

Ten years later the Brighton Dome closed for 

refurbishment and the BPO returned 

temporarily to Hove Town Hall, and gave a 

series of Mozart Piano Concerto concerts in the 

Theatre Royal Brighton with its current 

President, John Lill. In 2002 the Dome 

re-opened, since which time more than 93,000 

tickets have been sold for the BPO’s concerts in 

its home venue. 

The orchestra itself is best described as an ‘all 

star’ line up. That is all the musicians on stage 

play regularly for other premiere orchestras in 

London and across the UK and we are fortunate 

to capture their skills, interest and love of the 

repertoire for our series of Sunday concerts. 

We share players with the London Symphony 

Orchestra, Royal Philharmonic Orchestra, 

Philharmonia, London Mozart Players, Britten 

Sinfonia, English String Orchestra, City of 

London Sinfonia, City of Birmingham 

Symphony Orchestra, BBC Symphony and 

Concert Orchestras and the the orchestras of 

the Royal Opera House and English National 

Opera. Further details of the individual glories 

of our principal players are contained on our 

website. 

We look forward to welcoming you once again 

to our 86th season of concerts. More details of 

all our actvities and of our Friends membership 

scheme can be found on our website at 

www.brightonphil.org.uk


Barry Wordsworth conductor 

First Violin 

John Bradbury 

The position of Leader 

is sponsored by 

Ronald Power MBE 

Josef Fröhlich 

Jonathan Strange 

Paul Buxton 

Jack Maguire 

Geraint Tellem 

Laurine Rochut 

Jeremy Allen 

Caryn Cohen 

Fiona McKinley 

Katy Barnes 

Merith Godwin-Greer 

Second Violin 

Mark Messenger 

The position of Principal 

Second Violin is 

sponsored by Brian 

Chattock 

Hazel Correa 

Keith Lewis 

Rachel Steadman 

Jonathan Newton 

Jo Davies 

Gillian Brightwell 

Mandhira de Saram 

Lauren Abbott 

Emma Penfold 

Viola 

Ricardo Zweitisch 


Viola is sponsored 

anonymously 

Justin Ward 

Richard Peake 

John Rogers 

Rachel Benjamin 

Susan Appel 

Robert Puzey 

Andrew Strange 

Cello 

Peter Adams 


Cello is sponsored by 

David House 

Tim Hewitt Jones 

Matthew Forbes 

Jessica Cox 

Clare Constable 

Tim Volkard 

Double Bass 

Stephen Warner 


Double Bass is 

sponsored by Martin and 

Frances Lindsay-Hills 

Richard Watson 

Andrew Wood 

Caroline Harding 

Flute 

Christine Messiter 


Flute is sponsored by 

Jackie Lythell OBE 

and Peter Lythell 

Deborah Davies 

Piccolo 

Jill Carter 

Oboe 

David Thomas 

Eugene Feild 

Cor Anglais 

Ilid Jones 

Clarinet 

John Payne 


Clarinet is sponsored by 

Helena Frost 

Helen Bishop 

Bassoon 

Wendy Phillips 


Bassoon is sponsored by 

Michael Woolley 

Andrew Stowell 

Horn 

John James 


Horn is sponsored by 

Ulla Dunlop 

Richard Stroud 

Alex Carr 

Jane Hanna 

Duncan Fuller 

Trumpet 

John Ellwood 


Trumpet is sponsored 

by Professor Gavin 

Henderson CBE 

Oliver Preece 

Trombone 

Lindsay Shilling 


Trombone is sponsored 

by Caroline House 

Jeremy Gough 

Bass Trombone 

Daniel West 

Tuba 

John Eliot 

Timpani 

Graham Reader 


Timpanist is sponsored 

by Sapphire IT Limited 

Percussion 

Donna-Marie Landowski 

Donal O'Neil 

Additional Chair 

Sponsors 


Harp is sponsored in 

memory of Ralph Beddis


Visit the Brighton Philharmonic website 

www.brightonphil.org.uk 

f All the latest news and 

announcements 

Acknowledgements 

Corporate Members 

University of Brighton 

Sapphire IT Limited 

Trusts and Foundations 

John Carewe Brighton Orchestra Trust 

Support in-kind 

The soloists’ concert pianos chosen 

and hired for these performances 

are supplied and maintained by 

Steinway & Sons. 

f Forthcoming concerts 

f Booking information 

f Free programme downloads 

48 hours in advance 

Each programme contains detailed programme 

notes, biographies of performers and more. 

f Join our mailing list for exclusive 

offers 

and much more... 

Flowers kindly provided by Gunns, 

6 Castle Square, Brighton 

(Tel: 01273 207490) 

Personal Sponsors 

Anonymous Friends 

Orchestral Chair Sponsors 

Mr and Mrs Trevor Bolton 

Brian Chattock 

Phyllis Goodman 

Barbara Heyda & Richard Brooker 

Kathleen Ireland 

Ted McFadyen 

D. V. Newbold CBE 

Tony Newton 

Julian Pelling 

Esther Welch 

Friends and Patrons 

Thanks go to every one of the 

Brighton & Hove Philharmonic 

Society’s Friends and Patrons for 

their continued support and 

donations received during the 

season. For information on 

becoming a Friend or Patron 

please telephone 01273 622900.


Raising money for the Brighton Philharmonic Orchestra 

The John Carewe Orchestra Trust was established in 1987 and provides financial support for 

the Brighton and Hove Philharmonic Society. Each year the Society receives a grant from the 

Trust which is used either to fund additional orchestral rehearsals or to support a specific 

concert given by the Brighton Philharmonic Orchestra. 

Since its foundation the Trust has given over £80,000 in grant aid to the Society. 

The Trust’s capital comes from various sources, notably the proceeds of the fundraising 

New Year’s Eve Viennese Concert, now in its seventeenth season. The Trust also welcomes 

donations and encourages concert-goers to remember the Brighton Philharmonic Orchestra 

by means of legacies. 

FOR FURTHER INFORMATION PLEASE CONTACT: 

Simon Keane, Trustee, John Carewe Orchestra Trust, 12 West Drive, Brighton BN2 0GD 

Registered Charity no.298038 

Trustees: John Carewe, Frances Colban, Wilfred Goddard, Simon Keane, Richard Watson 

The Brighton Philharmonic Orchestra is managed 

by the Brighton & Hove Philharmonic Society 

(Registered Charity No.250921) 

Music Director 


President 

John Lill CBE 

Vice-Presidents 

John Carewe 

Jackie Lythell OBE 

Ronald Power MBE 

Chair 

David House 

Hon Treasurer 

Howard Attree CPFA 

General Manager 

Judith Clark 

Concert Manager 

Ian Brignall 

Librarian 

Charles Strickland 

Audience Services Officer 

Madeline Holm 

Accounts & Renewals 

Administrator 

Glynis Leaney 

Brighton Philharmonic Orchestra 

41 George Street, Brighton BN2 1RJ 

Tel: 01273 622900 | Fax: 01273 697887 

Email: mail@brightonphil.org.uk 


We are most grateful to photographer 

David Gerrard 

ARPS 

for the use of his work in this 

programme, in the season brochure, 

on the foyer stands and in other 

associated literature. 

www.dagerra-images.co.uk 

Photographs and recordings of the performance are not 

permitted. The Brighton & Hove Philharmonic Society 

reserves the right to substitute artists and vary 

programmes if necessary. 

Printing: Ditchling Press Photos: David Gerrard ARPS


Fine Records 

32 George Street, Hove BN3 3YB 

Huge selection of all 

genres of Classical Music, 

new and second hand. 

Please contact us with 

your requirements 

01273 723345 

finerecords@dsl.pipex.com


Future Concerts 

2010-2011 SEASON 

Sunday 14 November 2010 


Peter Adams cello 

Walton 

Spitfire Prelude and Fugue 

Bruch 

Kol Nidrei 

Butterworth 

A Shropshire Lad 

Fauré 

Elegy 

Elgar 

Enigma Variations 

Sunday 21 November 2010 


Brighton Festival Youth Choir 

Corelli 

Concerto Grosso in G minor 

(Christmas Concerto) 

Richard Rodney Bennett 

Four American Carols (world première) 

Britten 

Four extracts from Ceremony of Carols 

Vaughan Williams 

Five variants of ‘Dives and Lazarus’ 

Dvořák 

Serenade op 22 in E major 

Friday 31 December 2010 

Concertmaster John Bradbury 

Guest Soloists TBA 

New Year’s Eve Viennese Concert 

Sunday 16 January 2011 

Stephen Bell conductor 

Tamsin Waley-Cohen violin 

Gemma Rosefield cello 

Tchaikovsky 

Fantasy-Overture The Tempest 

Delius 

Walk to the Paradise Garden 

Delius 

Concerto for violin and cello 

Tchaikovsky 

Symphony no 5 in E minor 


Sunday 5 December 2010 

Howard Shelley conductor/piano 

Mendelssohn 

Overture ‘The Hebrides’ (Fingal's Cave) 

Schumann 

Piano Concerto in A minor 

Tchaikovsky 

Symphony no 4 in F minor

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