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86 thConcert SeasonOctober 2010 – March 2011Sunday 3 October 2010Brighton Dome Concert Hall

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Welcome to the Brighton PhilharmonicOrchestra’s 86 th Concert SeasonI am very much looking forward tothis opening concert. Writing this, Irealize how much I miss our concertsduring the summer months. Not onlywill we have the pleasure of seeingthe orchestra again, but we also havethe bonus of collaborating oncemore with our President John Lill.John has been our President since1992, and I am sure that you all valuethis association as much as we onthe platform do.John and I performed these twoworks together some two years ago,and I suggested to him then thatthey would make a good openingprogramme for Brighton.I have been keen to perform theRachmaninov again for some time,and I think Liszt’s treatment of theDies irae theme in the Totentanz,which is such a menacing andvirtuoso work, contrasts well withRachmaninov's which is just asvirtuoso, but a less terrifying viewof judgment day.We have neglected Wagner in recentseasons, so it will be good to hear theMeistersinger Overture, a well knownwork to be sure; but working on itagain has been extraordinary as Ifind even more to marvel at thanever before, especially in the melodiccounterpoint which he uses in thegentler parts of this majesticmasterpiece.I look forward to seeing you all againtoday, and sharing with you themusical feast we have prepared forthe rest of the season.Barry WordsworthMUSIC DIRECTOR/PRINCIPAL CONDUCTOR

There are many ways thatyou can support the BPO:The BPO needs your supportbecause without it, therewould be only half a season!With anything from 45 to 100 highly experiencedprofessionals on stage for every concert, a seasonof BPO concerts costs almost £1/2million. Yet evenif every seat was sold for every concert the incomefrom ticket sales would only cover around 60% ofthese costs.Without the support of its Friends, Patrons andSponsors, the BPO could not have survived formore than 80 years at the heart of the city’s musicmaking- your support can help it remain there.Brighton is privileged to have anorchestra of such quality on its doorstepMID SUSSEX TIMES• Become a Friend for an annualsubscription of £18 or a Life Friend fora one-off donation of £300.• Become a Patron for an annualsubscription of £140.• Sponsor a position in the orchestrafrom £300.• Jointly or fully sponsor a concert from£500.• Leave a bequest in your will to theBrighton & Hove Philharmonic Society(registered charity no.250921).For details of how to sponsor a concertor a position in the orchestra, or tobecome a Friend, Life Friend or Patron,please contact:Judith Clark,General ManagerBrighton Philharmonic Orchestra41 George StreetBrighton BN2 1RJTel: 01273 622900

Sunday 3 October 2010Brighton DomeConcert Hall at 2.45PMBarry WordsworthconductorJohn Lill pianoThis concert is sponsored byD V Newbold CBE.WagnerPrelude to Die Meistersingervon Nürnberg [9']LisztPiano Concerto No.1in E flat [19']Interval [20 minutes]LisztTotentanz for pianoand orchestra [16']RachmaninovSymphonic Dances [35']Unwanted noise in the auditorium can be distracting for the rest of the audience and the performers. Please try to restrain coughinguntil 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 assistedhearing system, headsets can be obtained from the Box Office (book in advance to ensure availability) and used in place of a hearing aid.

ProgrammenotesBY PETER BACK © 2010Prelude toDie Meistersingervon NürnbergRichard Wagner (1813-1883)Wagner’sgargantuan cycleof four operas,The Ring of theNibelungs, was toabsorb him foralmost a quarterof a century.Needingsomething inproduction in themore immediatefuture, he turnedto an Arthurian legend – the story of thelove and death of Tristan and Isolde. Tristanwas unprecedented in its intensity, massiveorchestration and exhibitionisticsensuousness, not to mention theharmonic daring that was to influence thefuture of music itself. The world premièrewas scheduled for Vienna but there weredelays upon delays stretching into monthsthen years. Finally the management of theVienna Royal Opera came to the conclusionthat the work was impossible andabandoned it. (The première finally tookplace in Munich, in 1865.) Wagner nowlooked for another project.For this he returned to an idea he had beennursing for some time. He decided to builda libretto around the 16th century craftguild of Mastersingers – middle-class poetsand musicians producing their artaccording to set rules and strict discipline.He finished the text in 1862 and completedthe score in 1867, convinced more than everthat ‘this is my most perfect masterpiece’.In The Mastersingers, Wagner side-steppedthe supernatural world of gods andgoddesses found in The Ring, and theknights and princesses of legend found inTristan. Instead, he details the emotionsand conflicts of everyday people, in thiscase the medieval Guild of Mastersingersin Nuremburg. The Guild is thrown into acrisis by the arrival of a somewhat naivenobleman, Walter von Stolzing. His art isdifferent from theirs, more natural,expressive and emotional. His attempt towin the song contest and membership ofthe Guild – and the hand of Eva, daughterof one of the Mastersingers – is fraught,but ultimately successful.Wagner’s aims in The Mastersingersdemanded a radically reduced orchestra.His chief concern was the maximum ofcontrapuntal clarity – the interweaving ofseparate and independent melodic strandsbeing essential to his musical thinking.Achieving this within a rich orchestral textureis one of his greatest achievements. Thefirst-act Prelude incorporates some of theprincipal themes (leitmotifs) from the opera,each associated with a particular character,idea or situation in the opera. Towards theend of the Prelude, Wagner weaves togetherfive of the motifs heard earlier during thecourse of the piece. The Prelude begins andends with grand statements of the‘Mastersingers’ theme itself.

Piano Concerto No.1in E flatFranz Liszt (1811-86)Allegro maestoso –Quasi adagio – Allegretto vivace –Allegro maestoso –Allegro marziale animatoLiszt’s career as atouring virtuoso lastedfrom his teenage yearsuntil 1848, when hedecided on a completechange of life. Hesettled in Weimar,where he had beenoffered the post ofCourt Music Director.Up to this point almostall of the music he hadwritten was for pianosolo, although ideas for the two concertosand Totentanz (his three most importantworks for piano and orchestra) had beensketched and drafted much earlier. Theearliest traces of the First Piano Concertodate back as far as 1830. It was the year Lisztmet Berlioz, and a year before his formativeencounters with Chopin and Paganini.Chopin’s poetic musical language had grownout of the idiom of the piano itself butPaganini’s influence extended even further.The famous violin virtuoso had exploded thenotions of what was considered possible onhis instrument – now Liszt was ready to dothe same with the piano. Liszt’s usualmethod was to compose at great speed andthen revise meticulously, often repeatedly.The First Piano Concerto was completed inWeimar in 1849 then thoroughly revised,first in 1853, and again in 1856 beforepublication. Liszt gave the first performanceof the Concerto on 17 February 1855, withBerlioz conducting.The First Piano Concerto reveals anexperimental approach to the matching ofsoloist and orchestra. Although Liszt divideshis score into three separate movements,the work is in fact played without a break.Furthermore, the second movement isactually a two-in-one structure containingboth a heart-felt slow movement and amore playful and mocking scherzo. Lisztsubjects his themes to a continuous processof variation and transformation, whichreplaces the formal developments of earlierconcertos. Themes reappear in differentmovements, settings and context – a radicalnew approach to form that would have farreaching effects. Eduard Hanslick, theconservative Viennese critic, was violentlyopposed to Liszt’s progressive ideas.Clutching at straws he took particularexception to the use of the triangle at thestart of the scherzo section of the secondmovement. Such was the critic’s influence,however, that the work was not played inVienna again for another twelve years.The Concerto opens in bravura style, withthe full orchestra and thundering piano setin opposition. As the movement progressesthe two work more in partnership togetheras they elaborate upon the opening theme.The slow movement gives prominence tothe piano, whose sustained melody owesnot a little to Chopin’s nocturne style.

ProgrammenotesBY PETER BACK © 2010This gives way to the scherzo and themocking, Mephistophelean side of Liszt.The finale’s opening march is atransformation of the slow movement’snocturne; indeed all the material in thismovement is a transformation of earlierthemes in brisk march tempo until the pacequickens for a final dash to the finish.Totentanz for pianoand orchestraFranz Liszt (1811-86)Liszt’s Totentanz, or‘Dance of death’, is aset of six variationsfor piano andorchestra on theplainchant sequenceDies irae, athirteenth-centuryLatin poem thatvividly describes theterrors of the LastJudgement. Moreusually found insettings of theRequiem Mass, theDies irae firstappeared in theconcert hall in Berlioz’s Symphoniefantastique in 1830. The nineteen-year-oldLiszt was present at the first performanceand later transcribed the piece for solo piano.The Dies irae still held a deep fascination forthe young virtuoso pianist-composer twoyears later. Paris was in the grip of a choleraepidemic at the time and the roads to thecemeteries were blocked with hearses. At hislodgings in the Rue de Provence Liszt keptthe other tenants awake all night playing theDies irae, ‘from dusk to dawn in countlessvariations’. Liszt often drew inspiration fromliterary and pictorial sources, so it may bepossible that a visit to Italy in 1838 ledindirectly to the composition of Totentanz.It was here he saw the frescoes of TheTriumph of Death in the Campo Santo at Pisa,where the figure of Death, part woman, partbat, hovers over the corpses of kings andpeasants strewn on the ground. Anothermore likely source of inspiration may havebeen Holbein’s series of woodcuts called DerTodtentanz, which show dancing skeletonsleading the dead to the grave.By the late 1840s Liszt had abandoned thelife of a touring virtuoso and settled inWeimar. He wrote down Totentanz for thefirst time in 1849. The work was revisedtwice in the 1850s before receiving its firstperformance in 1865, with Hans von Bülowas soloist. Such a long gestation period, aconsequence of life as a performingmusician, was not unusual for Liszt.Totentanz can best be described as GothicRomanticism, at times brutal and almostaggressively modern. The virtuoso style ofthe keyboard writing has a hard, almostBartókian edge – in fact the piece was tobecome a great favourite of Béla Bartók, whoplayed it frequently. The Chopinesque,‘poetic’ side of Liszt is heard to best effect invariation four, a reflective canon; anothercontrapuntal device pervades variation five,a brilliant repeated-note fugato. Horn-calls

announce the arrival of variation six, almosta set of variations in its own right, using aderivative of the plainsong sequence as anew theme. Nothing prepares us for thestark, awesome opening, however, with thepiano and drums underlining the firststatement of the theme on brass, low windand strings.Symphonic DancesSergei Rachmaninov (1873-1943)Non allegroAndante con moto (Tempo di Valse)Lento assai – Allegro vivaceOn one levelRachmaninov’sSymphonic Dancesis a highlyinventive andbrilliant orchestralshowpiece, and onanother it is awork imbued witha sense ofmystery, whose‘meaning’ remainsunclear, thoughhinted at by a number of telling thematicreferences and self-quotations.By 1939 Rachmaninov’s career was nearingits end. Having spent most of his life inself-imposed exile following the RussianRevolution in 1917, he was now driven fromEurope by the approach of war and was tospend the remaining years of his life in theUSA. He and his family rented an estate onLong Island where he was able to convalesceafter an operation, and there hebegan work on what was to be his lastcomposition – three ‘Fantastic Dances’.Later the name was changed to SymphonicStudies, a more appropriate titleconsidering the symphonic scale,treatment and serious nature of the threemovements.Did Rachmaninov intend the SymphonicDances to be his swansong? It is difficultto know for certain but the self-quotationsand references contained in the worksuggest that he did. Although reluctant totalk about his music, it does seem likelythat he invested the Symphonic Danceswith a poetic and even autobiographicalsignificance. For most of his lifeRachmaninov had struggled to find time tocompose. It was often only during breaksfrom the pressure of life as a touringpianist and conductor that he was able towrite new music. On occasions yearswould pass before he did so, so it is notunlikely that he might have regarded hisenforced convalescence as a finalopportunity to reflect on his own mortalityin musical terms. Rachmaninov’s richlychromatic, broadly lyrical andunashamedly nostalgic style had alwaysfound favour with audiences, but theSymphonic Dances contains somethingmore. It contains some of the mostdynamic music Rachmaninov ever wrote.It is also marked by an extraordinary andat times even eccentric use of theorchestra.

ProgrammenotesBY PETER BACK © 2010The first performance given by thePhiladelphia Orchestra under EugeneOrmandy was given a mixed reception,perhaps because of the work’s ambiguityand sense of mystery. One explanationmay be provided by the titles Rachmaninovgave to each movement for a proposedballet to be choreographed by MikhailFokine. Rachmaninov told him that thethree dances follow the sequence Midday –Twilight – Midnight, with reference notonly to times of day but also to phases oflife.The first dance is in three sections, with aforceful stylised march framing a muchslower middle section. The first partfeatures strident woodwind calls andutilises the piano as an orchestralinstrument. The central part introduces alanguorous melody on the alto saxophone,imparting to it an eerie melancholy. Later,when the melody is taken over by thestrings, its poignant tenderness is givenfull reign. The march-like section returns;towards the end of the movement a broadnew theme is introduced in the stringsagainst a chiming decoration of flute,piccolo, piano, harp and bells. This theme isderived from the motto- theme from thecomposer’s ill-fated First Symphony, a workinspired by a youthful love-affair. Thesymphony had been withdrawn after itsdisastrous first and (in Rachmaninov’slifetime) only performance in 1897. Thefailure of the work had had a cripplingeffect on the young Rachmaninov, and theresulting three year compositional silencewas only overcome by hypnosis. The truesignificance of this self-quotation can onlybe guessed at. It is interesting to observehowever that the first four notes of thetheme take on further significance in thefinal movement, where they form the firstfour notes of the Dies irae (‘Day of wrath’)plainchant.The second movement is a symphonicdance that at times takes on the characterof a danse macabre. The composer’ssuggested title ‘Twilight’ is well suited tothis shadowy music, haunted by spectresof the past. The middle section movesfrom elegance to melodic warmth leavingthe coda to gather speed and die away.After a sombre introduction the finalemoves into the leaping dance rhythms ofthe saltarello; the increasing allusions tothe Dies irae plainchant suggest that this issomething of a dance of death. Thelingering chromaticism of the middlesection provides a strong contrast, perhapssuggesting a fatalistic approach to death.In the concluding section the Dies iraeplainchant engages in what is virtually alife-or-death struggle with a RussianOrthodox chant that Rachmaninov hadused in the Vespers of 1915, celebrating theResurrection of Christ. At the point wherethe Dies irae is finally vanquished by theResurrection hymn from the Vespers,Rachmaninov wrote in the score ‘Alliluya’(Rachmaninov’s spelling in Latincharacters). In this struggle betweendeath and life, faith ensures that life isvictorious.

Barry WordsworthMusic Director/Principal ConductorBarry Wordsworth is Music Director ofthe Royal Ballet Covent Garden, havingpreviously held the position from 1990-1995. He has also been Music Directorand Principal Conductor of the BPOsince 1989, and in 2006 becameConductor Laureate of the BBC ConcertOrchestra, having served as its PrincipalConductor since 1989. From 2005-2008he was Music Director of BirminghamRoyal Ballet.In 1989, Barry Wordsworth made hisfirst televised appearance at the BBCProms, and has conducted the BBCConcert Orchestra regularly insubsequent seasons of the Proms. He hasalso toured extensively with the orchestra,including tours to Japan and the USA fortheir 50th Anniversary in 2002.Highlights in recent seasons haveincluded guest appearances with theRoyal Concertgebouw Orchestra,Toronto Symphony, Seoul Philharmonic,Guangzhou Symphony, RotterdamPhilharmonic, New Zealand Symphonyand Sydney Symphony. In the UK, he hasconducted the Philharmonia, LondonSymphony Orchestra, City ofBirmingham Symphony Orchestra,Royal Philharmonic Orchestra andBBC National Orchestra of Wales.In addition to his symphonic career,he has enjoyed a long and closerelationship with the Royal Ballet andthe Birmingham Royal Ballet and inrecent seasons has also conducted theNew National Theatre Tokyo, LeipzigBallet and the ballet of the OpéraNational de Paris.He has a large catalogue of recordings,including a long association withArgo/Decca International. His recordingof the ‘Last Night of the Proms’ achievedenormous popular success and his mostrecent release, with Bryn Terfel and theLSO, won a Grammy Award in 2007.He holds honorary doctorates fromthe University of Brighton and theUniversity of Central England, and in2006 was made an Honorary Fellow ofTrinity College of Music.

John Lill pianoJohn Lill's concert career spans over fifty years.His rare talent emerged at an early age - hegave his first piano recital at the age of nine.At eighteen he performed Rachmaninov's 3rdPiano Concerto under Sir Adrian Boult, followedby his much-acclaimed London debut playingBeethoven's 'Emperor' Piano Concerto at theRoyal Festival Hall. His success was reflected inmany prestigious international prizes andawards, and in 1970 he won the most coveted ofthese, the Moscow International TchaikovskyCompetition, further consolidating his alreadybusy international concert schedule.Unanimously described as the leading Britishpianist of his generation, John Lill's career hastaken him to over fifty countries, both as arecitalist and as a soloist with the world'sgreatest orchestras. He regularly performs inall the European capitals (including Amsterdam,Berlin, Paris, Prague, Rome, Stockholmand Vienna), Russia, the Far East, Australasia,(including several ABC tours) and he is afrequent visitor to the United States, where hehas worked with the Cleveland, New YorkPhilharmonic, Philadelphia, Dallas Symphony,Baltimore Symphony, Seattle Symphony, BostonSymphony, Washington and San DiegoSymphony Orchestras.John Lill's extensive repertoire includes morethan seventy concertos, and he is acclaimed inparticular as a leading interpreter of Beethoven,whose complete sonata cycle he has performedon several occasions in the UK, USA and Japan.In Britain he has given over 30 BBC Promenadeconcerts and regularly appears with all themajor symphony orchestras. He has touredoverseas with the London Symphony, LondonPhilharmonic, BBC Symphony, City of Birmingham,Hallé, Royal Scottish National and BBC ScottishSymphony Orchestras.Most recently John Lillhas performed with, among others, theIndianapolis, Gothenburg, Rotterdam, RoyalStockholm, Royal Philharmonic, CzechPhilharmonic, London Philharmonic Orchestras,and the Orchestre Philharmonique de RadioFrance and gave recitals throughout the UK,USA, Europe and Australia. In the 2010-11season he returns to the Royal Philharmonic,English Chamber Orchestra, Royal ScottishNational, Bournemouth Symphony and the BBCNational Orchestra of Wales. John Lill hasrecorded for Deutsche Grammophon, EMI(Complete Beethoven Piano Concertos withRSNO and Gibson), ASV (both Brahms Concertoswith the Hallé and Loughran) plus the completeBeethoven Sonatas and Pickwick Records(Tchaikovsky l with the LSO and Judd).

More recently he has recorded the completeProkofiev sonatas with ASV and his recentrecording of the complete Beethoven Bagatellesand Piano Concertos with the CBSO and Welleris available on Chandos. He recorded MalcolmArnold's Fantasy on a Theme of John Field(dedicated to John Lill) with RPO and Handleyfor Conifer and the complete RachmaninovConcertos and major solo piano works forNimbus Records.His most recent recording projects have beenthe 60th birthday release of piano works bySchumann on the Classics for Pleasure label and2 new releases for Signum records of Schumannand Brahms and Haydn Piano Sonatas.John Lillhas been awarded eight Honorary Doctoratesfrom British universities as well as several Fellowshipsfrom the leading musical colleges andacademies. He lives in London and was awardedthe OBE in 1977 and the CBE for his services tomusic in the 2005 New Year’s Honours List. JohnLill has been the president of the Brighton andHove Philharmonic Society since 1992.John Bradbury leaderJohn Bradbury, Leader of the BrightonPhilharmonic Orchestra, is a Fellow of the RoyalManchester College of Music where he studiedwith four eminent violinists : the concertosoloists Endre Wolf, Manoug Parikian andGeorgy Pauk, and finally with AlexandreMoskowsky of the Hungarian String Quartet.Within a year of leaving College he wasappointed Leader of the BBC Midland LightOrchestra which was then conducted byGilbert Vinter. During this time he embarkedupon the first of many broadcast recitalswith his wife, the pianist Eira West, and alsoperformed a wide range of solos with theorchestra.He then transferred to the City of BirminghamSymphony Orchestra as their Leader combiningduo, trio and quartet recitals with numerousconcerto and solo performances before movingto London to lead the BBC Concert Orchestra.The ensuing seven years of BBC broadcastingensured that the name John Bradbury was sowell-known that he was able to turn free-lance,and this has led to a wealth of diverseopportunities that would not otherwise havebeen possible.In addition to guest leading for all the majorLondon Symphony Orchestras John’s busyfree-lance schedule has encompassed a greatdeal of commercial studio work includingleading for all the James Bond movie soundtracks made since 1998. He was the founderleader of the Royal Philharmonic PopsOrchestra under the baton of Henry Mancini,and has toured extensively as leader forDame Shirley Bassey, Lesley Garrett, RussellWatson and Andrea Bocelli. Equallyfascinating was a year as Leader of LesMisérables at the Palace Theatre, London.More recently John was engaged by the RoyalPhilharmonic Orchestra to lead the ‘StarWars in Concert’ tours of America andEurope.His ten-year appointment in 1986 as Directorof Johann Strauss Gala performances forRaymond Gubbay Ltd was especiallyrewarding, and John’s expertise in thismulti-talented form of entertainment is nowwell-known through the many exciting andhighly acclaimed concerts he has presentedthroughout the UK and abroad.Besides regular appearances as Leader of theBrighton Philharmonic Orchestra, John hasconducted a number of concerts in theDome, and has performed many excitingviolin solos including works by Ysaye,Paganini, Kreisler, Tschaikowsky, Mozart,Bruch, Vivaldi and Saint-Saens.

Brighton Philharmonic OrchestraThe Brighton Philharmonic Orchestra wasformed by Herbert Menges in May 1925 as theSymphonic String Players ‘to become a largeand powerful String Orchestra, and to giveperiodical concerts of a high standard inBrighton and Hove’.By 1928 they had already moved into theBrighton Dome and become the fully orchestral‘Symphonic Players’. Menges remained asPrincipal Conductor and in 1932 Sir ThomasBeecham was appointed as the orchestra’s firstPresident (a position later held by RalphVaughan Williams and Benjamin Britten).In 1972, after 47 years as Principal Conductorand having conducted more than 300 concerts,Herbert Menges died at the age of 69.His successor was John Carewe, whose firstconcert as Principal Conductor marked thestart of the orchestra’s 50th Anniversaryseason. In 1989 Barry Wordsworth wasappointed as only the third Principal Conductorin the BPO’s history. Barry’s distinguishedtenure at the helm has been marked by a seriesof notable performances of both well-knownand more unfamiliar works together with aroster of accomplished and distinguishedsoloists. The past three seasons have seenpremieres of new works by Will Todd, RichardRodney Bennett, Martin Butler and HowardGoodall together with a series of all theBeethoven Symphonies and regularcollaborations with the Brighton FestivalChorus and Brighton Festival Youth Choir.

Ten years later the Brighton Dome closed forrefurbishment and the BPO returnedtemporarily to Hove Town Hall, and gave aseries of Mozart Piano Concerto concerts in theTheatre Royal Brighton with its currentPresident, John Lill. In 2002 the Domere-opened, since which time more than 93,000tickets have been sold for the BPO’s concerts inits home venue.The orchestra itself is best described as an ‘allstar’ line up. That is all the musicians on stageplay regularly for other premiere orchestras inLondon and across the UK and we are fortunateto capture their skills, interest and love of therepertoire for our series of Sunday concerts.We share players with the London SymphonyOrchestra, Royal Philharmonic Orchestra,Philharmonia, London Mozart Players, BrittenSinfonia, English String Orchestra, City ofLondon Sinfonia, City of BirminghamSymphony Orchestra, BBC Symphony andConcert Orchestras and the the orchestras ofthe Royal Opera House and English NationalOpera. Further details of the individual gloriesof our principal players are contained on ourwebsite.We look forward to welcoming you once againto our 86th season of concerts. More detailsof all our actvities and of our Friendsmembership scheme can be found on ourwebsite at www.brightonphil.org.uk

Barry Wordsworth conductorFirst ViolinJohn BradburyThe position of Leader issponsored by Ronald Power MBEJosef FröhlichJonathan StrangePaul BuxtonJack MaguireJoyce NixonLaurine RochutGeraint TellemCaryn CohenFiona McKinleyKaty BarnesSheila LawEmily ChapmanHolly BhattacharyaSecond ViolinMark MessengerThe position of PrincipalSecond Violin is sponsoredby Brian ChattockHazel CorreaKeith LewisRachel SteadmanCharlotte EdwardsAnna CroadRebekah AllenJonathan NewtonJo DaviesGillian BrightwellMandhira de SaramEmma PenfoldViolaRicardo ZweitischJohn RogersThe position of Sub-principal Violais sponsored in memory ofMarion MercerRichard PeakeRachel BenjaminSusan AppelAndrew StrangeSharada MackSarah PopeLucy HillLouise ParkerCelloPeter AdamsThe position of Principal Cellois sponsored by Mrs Austin BrownTim Hewitt JonesMatthew ForbesJessica CoxElisabeth ParkerClare ConstableJoe GiddeyCeline BarryDouble BassStephen WarnerThe position of PrincipalDouble Bass is sponsoredby Martin & Frances Lindsay-HillsAndrew WoodPeter SmithCaroline HardingLouis GarsonAdam PreciousFluteChristine MessiterThe position of Principal Fluteis sponsored by Jackie Lythell OBE& Peter LythellDeborah DaviesPiccoloJill CarterOboeMarios ArgirosThe position of Principal Oboeis sponsored by Kathleen IrelandEugene FeildCor AnglaisClare HoskinsClarinetJohn PayneThe position of Principal Clarinetis sponsored by Helena FrostHelen BishopBass ClarinetPeter ThompsonAlto SaxophoneKyle HorchBassoonWendy PhillipsThe position of Principal Bassoonis sponsored by Michael WoolleyAndrew StowellContra BassoonCatherine DuckettHornJohn JamesThe position of Principal Hornis sponsored by Ulla DunlopDavid WytheDuncan FullerJane HannaTrumpetJohn EllwoodThe position of Principal Trumpetis sponsored by Professor GavinHenderson CBEJulie RyanOliver PreeceTromboneAndrew ColeJeremy GoughBass TromboneRichard WallTubaJohn EliotTimpaniDonal O'NeilThe position of Timpanistis sponsored by Sapphire IT LimitedPercussionDonna-Marie LandowskiMarcus GruettBobby BallGeoff BoyntonChris WoodhamHarpEmma GrangerPianoCatherine Edwards

AcknowledgementsCorporate MembersUniversity of BrightonSapphire IT LimitedTrusts and FoundationsJohn Carewe Brighton OrchestraTrustSupport in-kindThe soloists’ concert pianos chosenand hired for these performancesare supplied and maintained bySteinway & Sons.Flowers kindly provided byGunns, 6 Castle Square, Brighton(Tel: 01273 207490)Visit the Brighton Philharmonic websitewww.brightonphil.org.ukf All the latest news and announcementsf Forthcoming concertsf Booking informationf Free programme downloads48 hours in advanceEach programme contains detailed programmenotes, biographies of performers and more.f Join our mailing list for exclusive offersand much more...Volunteer support kindlyprovided byThe Fabric WarehouseYummy StuffPersonal SponsorsAnonymous FriendsOrchestral Chair SponsorsMr and Mrs Trevor BoltonBrian ChattockPhyllis GoodmanBarbara Heyda & Richard BrookerKathleen IrelandTed McFadyenD. V. Newbold CBETony NewtonJulian PellingEsther WelchFriends and PatronsThanks go to every one of theBrighton & Hove PhilharmonicSociety’s Friends and Patrons fortheir continued support anddonations received during theseason.For information on becominga Friend or Patron pleasetelephone 01273 622900.

Raising money for the Brighton Philharmonic OrchestraThe John Carewe Orchestra Trust was established in 1987 and provides financial support forthe Brighton and Hove Philharmonic Society. Each year the Society receives a grant from theTrust which is used either to fund additional orchestral rehearsals or to support a specificconcert 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 fundraisingNew Year’s Eve Viennese Concert, now in its seventeenth season. The Trust also welcomesdonations and encourages concert-goers to remember the Brighton Philharmonic Orchestraby mean of legacies.FOR FURTHER INFORMATION PLEASE CONTACT:Simon Keane, Trustee, John Carewe Orchestra Trust, 12 West Drive, Brighton BN2 0GDRegistered Charity no.298038Trustees: John Carewe, Frances Colban, Wilfred Goddard, Simon Keane, Richard WatsonThe Brighton Philharmonic Orchestra is managedby the Brighton & Hove Philharmonic Society(Registered Charity No.250921)Music DirectorBarry WordsworthPresidentJohn Lill CBEVice-PresidentsJohn CareweJackie Lythell OBERonald Power MBEChairDavid HouseHon TreasurerHoward Attree CPFAGeneral ManagerJudith ClarkConcert ManagerIan BrignallLibrarianCharles StricklandAudience Services OfficerMadeline HolmAccounts & RenewalsAdministratorGlynis LeaneyBrighton Philharmonic Orchestra41 George Street, Brighton BN2 1RJTel: 01273 622900 | Fax: 01273 697887Email: mail@brightonphil.org.ukwww.brightonphil.org.ukWe are most grateful to photographerDavid GerrardARPSfor the use of his work in thisprogramme, in the season brochure,on the foyer stands and in otherassociated literature.www.dagerra-images.co.ukPhotographs and recordings of the performance are notpermitted. The Brighton & Hove Philharmonic Societyreserves the right to substitute artists and varyprogrammes if necessary.Printing: Ditchling Press Photos: David Gerrard ARPS

Fine Records32 George Street, Hove BN3 3YBHuge selection of allgenres of Classical Music,new and second hand.Please contact us withyour requirements01273 723345finerecords@dsl.pipex.com

Sunday 24 October 2010Barry Wordsworth conductorChristine Messiter fluteGriegPeer Gynt Suite no 1NielsenFlute ConcertoDvořákSymphony no 9 in E minor(From the New World)Sunday 14 November 2010Barry Wordsworth conductorPeter Adams celloWaltonSpitfire Prelude and FugueBruchKol NidreiButterworthA Shropshire LadFauréElegyElgarEnigma VariationsSunday 21 November 2010Barry Wordsworth conductorBrighton Festival Youth ChoirCorelliConcerto Grosso in G minor(Christmas Concerto)Richard Rodney BennettFour American Carols (world première)Vaughan WilliamsFive variants of ‘Dives and Lazarus’DvořákSerenade op 22 in E majorwww.brightonphil.org.ukFuture Concerts2010-2011 SEASONSunday 5 December 2010Howard Shelley conductor/pianoMendelssohnOverture ‘The Hebrides’ (Fingal's Cave)SchumannPiano Concerto in A minorTchaikovskySymphony no 4 in F minorFriday 31 December 2010Concertmaster John BradburyGuest Soloists TBANew Year’s Eve Viennese Concert