The photo is of the cake that Julia Desbruslais made and beautifully decorated with the new LMP logo.
The photo is of the cake that Julia Desbruslais made and beautifully decorated with the new LMP logo.
You can help underwrite a concert for just £1,000.
Supporting the London Mozart Players
The LMP would be delighted to hear from you should you or anyone you know be interested in participating in or supporting the orchestra’s future work programme and activities, sponsoring concerts, education and community projects or becoming a Friend of the LMP.
From world-class concerts to inspirational education projects, none of the LMP’s work would be possible without the financial support we receive from our Benefactors and Conductors’ Circle. These are our musical patrons, following in the footsteps of those generous, passionate and committed philanthropists who, throughout the centuries, have enabled great musicians to perform and compose. They are kept closely involved with the orchestra and its activities and their support is acknowledged in our concert programmes.
For an annual donation of £1,000 or more you can become a Benefactor of the LMP and enjoy a unique programme of events, including access to rehearsals, exclusive recitals, gala concerts and special receptions throughout the year. The LMP’s most generous Benefactors become members of the Conductors’ Circle and are closely involved with the musicians and management team and play a significant role in the life of the LMP.
Sponsor a Chair
You could also Sponsor a Chair from as little as £50 per month and enjoy a special connection with the orchestra and your chosen player:
By supporting an LMP chair – be it our Principal Horn or a member of the second violin section – your donation will helping the orchestra, directly enabling the LMP to perform fantastic concerts and carry out inspirational work in schools and in the community.
You can support an LMP chair with a single donation or you can choose to donate monthly by standing order. Whichever chair you sponsor, your donation will support a crucial part of the orchestra and will give you a unique insight into the life of the LMP.
Become a Friend of LMP
The LMP has very active and supportive Friends. The Friends organise various activities such as monthly Coffee Meetings, a private Friends’ Bar at Fairfield Concert, various outings to LMP concerts around the country and an annual Friends’ Concert and Lunch. Friends receive a quarterly newsletter and at Fairfield concerts there is the opportunity to meet LMP players, conductors and soloists in the Friends’ Bar.
Without the support from the Friends, the LMP would be unable to continue to present concerts and develop its award-winning Education and Community Programme. Your donation will assist the orchestra to achieve the highest levels of artistic excellence and help us to maintain our position as one of the premier chamber orchestras.
In return for an annual fee, which goes towards the above activities, members of the LMP Friends are given many benefits in addition to the knowledge that their money is supporting the wonderful work the LMP does in concert halls, schools, rural communities and residential homes around the UK.
The annual subscription for a Friend is £40 for single membership and £60 for couple membership. Renewals take place in September, we offer a pro-rata subscription. We are very grateful to the Friends for their continuous support.
Or visit our website at www.lmp.org
Alternatively, please fill in this form before and post it to us at the address below.
This week the London Mozart Players will prove that they really are the comeback kids of the orchestral world. Twice in recent years this fine chamber orchestra has threatened to disappear. The first time was in 2011, when it lost its Arts Council grant. The second was earlier this year, when Croydon Council pulled the plug on its very generous annual grant, after 24 years of support.
But it’s still with us, and on May 28 the LMP will be giving a concert with star guest soloist Angela Hewitt in St John’s Smith Square, repeated the following day at Fairfield Halls in Croydon.
The LMP has managed to pull back from the brink by practising what in America comes as second nature: self-help, and calling on a little help from friends. The orchestra has become a self-governing entity, with the players themselves acting as the orchestra’s agent, manager and PR. A few months back Vernon Ellis, chairman of the British Council and patron of English National Opera, hosted a fund-raising concert for the orchestra at his house. That and some energetic proselytising by the players has raised just under £100,000. A number of eminent musicians associated with the orchestra have given their services for free, including pianist Howard Shelley, conductor Hilary Davan Wetton, violinist Tasmin Little, and the winner of the BBC Young Musician of the Year in 2012, cellist Laura van der Heijden. These two concerts this week are a way of saying we’re still here and we mean business.
I’m glad they’re still here, because for me and many other classical music lovers the LMP is part of this country’s musical furniture. The orchestra was founded in 1949, which makes it the oldest chamber orchestra in Britain, and was led right up to the early 1980s by its founder Harry Blech. I saw him as a student in the latter part of his reign, and remember thinking he seemed as old as the hills. He strode stiffly up to the podium and conducted with a no-nonsense sturdy technique, as if he was kneading dough.
Since then Jane Glover, Matthias Bamert and Andrew Parrott have all taken on the role of MD. I remember the Bamert years especially well, as the orchestra’s programming was particularly lively, with a steady flow of commissioned works. Since 2010 the gifted South African-born conductor Gerard Korsten, whom the players clearly warm to, has taken the lead.
So what next? There are several steps the Players are taking to survive in the medium term, such as reviving their connection with Croydon’s Fairfield Halls. This has the best acoustics in Greater London, and the orchestra has a history of residency there stretching back 24 years. The orchestra also has a long-standing relationship with Portsmouth Grammar School, which has involved commissiong a string of new works, and also burgeoned outwards into the local community. There are plans to transplant the fruits of this back into the orchestra’s original Croydon base.
This combination of artistic enterprise with grass-roots involvement gives a model of how the orchestra might prosper in the long term. Bringing this off won’t be easy. Like the Academy of St Martin-in-the-Fields, the LMP has had some of its shine taken off by the rise of “period” bands such as the Orchestra of the Age of Enlightenment. At the other end of the historical spectrum are those groups which have pulled the chamber orchestra into the modern era, such as the Britten Sinfonia and the Scottish Ensemble.
The signs are that the LMP is learning a few tricks from these upstarts. There are plans to build relationships with starry musicians to act as soloists and directors for particular projects, as the Britten Sinfonia does so cleverly. There’s also a sense among these younger orchestras that rooting what they do in a particular place and time is the key to success, as much as artistic quality. For example, rather than just commissioning a composer to write a piece, you link it to something specific about the moment. The LMP has tried this already with its Portsmouth commissions, where each year the new piece has been linked to the theme of Remembrance Day (a particularly emotive topic in a naval city).
This shows the LMP is serious about reinventing itself. On the other hand, there is the accumulated loyalty and affection, among both audiences and musicians, for what the LMP has always been. And of course there’s the inherited treasure of the orchestra’s core repertoire. Mozart and Haydn’s symphonies and concertos will always be great music, and there will always be an appetite for them.
The difficulty is that these different aspects of the orchestra’s identity pull in different directions. The trick over the coming months and years will be to manage that tension, so that past and present knit together in a way that makes sense. It’s a more than worthy enterprise, and we should wish them well with it.
Full blog and photos. www.lmporchestra.wordpress.com
Following a short rehearsal in London we all got on a coach and arrived at Heathrow 4 hours early.
Lots of time for shopping, eating and drink. Flight left on time.
Smooth 12 hour flight and landed bang on time but in a severe storm. We weren’t allowed to disembark because of the danger of lightning strike on the gangway!
The onward flight was then delayed due to bad weather and we landed at Wuhan about 9pm. There was an air conditioned limousine waiting – not of us but – for Gerard who whisked away into the night. We got onto one of 2 coaches (not sure why as there are only 27 of us) for the interesting hour long journey to the hotel. The 2 drivers raced each other through the busy streets both determined to get us to the hotel first but risking none of us arriving at all! En route some interesting sights of young girls dressed up in short skirts, high heals and lip stick but on what looked like a hair dryer purporting to be a motorbike with no lights and not wearing crash helmets!
We finally arrived at our luxurious hotel, about 11pm, after nearly 24 hours travelling. Then, after finding our rooms on the 23rd floor, it was off to eat, back for a drink, catch up on emails and bed.
I woke at 5am. 1st problem to sort. The British council had emailed to say they were delighted to inform me that they had invited 20 people to use the 20 complimentary tickets I had promised for our Shanghai concert. The problem was that a) we had actually been allocated only 8 tickets and b) I had already promised 4 of them to someone else. Great. So it’s looking like my day off will be busy sorting that little problem. However, another email was a request from Kristina Rihanoff (strictly come dancing) to quote for providing musicians for an event in September.
Another email. The British council want to bring 14 people to the Beijing concert.
Enough for now. Back to sleep.
Our ‘free day’ to recover. News that Beijing has ‘sold out’ (2000 tickets). Amazing breakfast in the hotel. Noodles, Dim Sum etc etc. Then Paul, Scott and I took a taxi into town. We thought that last night’s coach was scary but this was something else. No seat belts, no signals, mains roads shared by lorries, cars, push bikes, pedestrians and chickens. Very smoggy and raining. Not hugely interesting. Back to hotel. Practise and then a managing group meeting at 6.30pm
Now just heard that Shanghai only have 8 seats unsold and Wuhan is also a sell out. Everyone loves the LMP out here. Are there any Chinese people who might like to come to Croydon next Thursday 29th?
David Wilson and Gerard went to the hall and met with Sa Chen – the soloist. In the evening the management group went to the most astonishing restaurant. Not one person spoke a word of English and I’m not sure they had EVER had a westerner in their restaurant. But they had wifi! We linked to “google translate” and typed in “spicy chicken” “spicy pork” “spicy noodles” and out popped the Chinese translation. The waiters had never seen anything like it and ran to the kitchen shouting Instructions.
A word of warning. DON’T use the word spicy unless you like mountains of red and green fresh chillies.
4.22am. Can’t sleep. Jet lag. Concert tonight as well.
First concert tonight. Amazing audience. The soloist had to do 2 encores and we did the whole of the last movement of the Jupiter symphony as our encore. Stats for audience. 90% under 30 years old! Everyone played brilliantly. I did a speech at the beginning of the concert with a translator by my side. After the concert back to hotel and a drink and now bed. It’s 12.21am and the coach leaves for the airport at 6.50am. That’s the schedule every day now. 6.30am coach, flight, rehearsal, concert, hotel by 11pm the coach at 6.30am!
May 23rd. Wuhan – Shanghai
Travel via plane to Shanghai. Very hot and humid. Short walk to concert hall. Apparently Putin had been there the day before. We found a restaurant in the Lonely planet but didn’t choose the Bullfrog! I had invited representatives from the British Council back to the hotel bar after the concert. I left the concert hall in a hurry to ensure I arrived at the hotel before they did only to find the bar full of “ladies of the night”. I quickly rang the BC and changed the venue. Phew!
May 24th Shanghai – Beijing
Travel to Shanghai station and bullet train for 5 hours to Beijing. 298kmh. Paul and I thought we’d managed a cheeky upgrade for £9.70 only to find that was only an upgrade for one stop! So we had to sneak back to our original seats. Check into hotel and we had 20 mins before coach to concert hall. Astonishing hall. Completely sold out. Met representatives and guests of British Council then back to hotel, drink and bed.
May 25th Beijing – Guangzhou
5.45am onto the coach to the airport. 3 hour flight to Guangzhou (it’s as far as London to Moscow).
Check into hotel and 3 hours before rehearsal. Had a noodles in a local tiny restaurant Followed by a sleep. Then to the hall. It’s VERY hot and sticky here. Wonderful hall and loads of children in the audience.
The audience were totally thrilled and afterwards about 30 of them wanted photos taken with me and Scott.
Then back to the hotel where Gerard bought everyone drinks. Our Chinese soloist Chen Sa joined us. We ate and drank until 1.30am. Then emails to sort until 2.30am and sleep. Up at 6am.
May 26th. Guangzhou – Hong Kong – London
Incredibly unhelpful coach driver refused to put the luggage on the bus so David Wilson got inside the underneath of the coach and did it himself. Then the driver had to reverse his coach out of the car park onto a busy road then drove erratically to the airport.
We have now checked in and having coffee before 16 hours flying back to London!
LMP START Project: Carnival of the Endangered Animals let loose in Croydon!
Over 500 young people across the London borough of Croydon presented a brand new work developed Read more
Dear Friends and supporters,
One of the new collaborations we are working on may include booking new upcoming young artists. One or more of the pianists playing in this concert could be invited to play with us. You can go and get a “preview”. We have been offered an exclusive deal on this concert. If you buy a £20 ticket then the LMP will receive £10 of the ticket price as a donation.
The number of tickets available is limited so if your are interested then please respond as soon as possible.
Please contact Peter Wright as soon as possible if you are interested.
From a Percussionist point of view. – Surrey Hills Festival – Rodion Shchedrin, Bizet Carmen Suite
This will be a very long day! This is a large and complex piece to organise logistically and the percussion parts have been emailed to the percussion players in advance. Each of the five players have their own individual part with a long list of instruments they will have to play. The setup for each player is important – how to position the instruments around themselves to be able move from instrument to instrument in the most intuitive way to play everything that’s been written for them. A percussion stage plan has been drawn which will undoubtedly change on arrival at the venue!
Between Sarah Stuart and myself we have worked out who is to bring which of the 45 or so separate percussion instruments for this work including 5 timpani, Marimba, Vibraphone, 2 pairs of bongos, tubular bells, 5 tuned tom toms, 3 tuned cow bells, Xylophone and copious toys and stands to put everything on. The percussion equipment completely fills two vans.
In the morning the vans take an hour to load. We arrive at the venue over two hours before the rehearsal. This is the minimum amount of time we will need to unload, build all the instruments and work out how to position all the instruments on the stage. As we work we realise the 5 timpani will have to go behind the double basses on the lower stage and the percussion will have to be staggered as there is not the room for all the percussionists to be in a line on the higher staging.
With just enough time for fine tuning some of the drums we are ready to play at 2pm.
With the curtains soaking up much of the sound the percussion players are finding they are having to play up more than usual. Shchedrin creates subtle textures with the Marimba and Vibraphone and even writes chords on the tubular bells using two players and these are important colours not to be lost. The piece also really shows off the versatility and virtuosity of the LMP strings.
The first half is Haydn’s Trumpet Concerto in E flat major and Mendelssohn’s Double Concerto for Violin, Piano and Orchestra. These pieces demonstrate superbly the LMP’s deftness and lightness of touch, technical skill and world renound chamber skills in accompanying and supporting the soloists and giving them a perfect canvas and the right atmosphere to shine. The second half is the Shchedrin Carmen Suite and is the perfect piece to showcase the LMP at their electric and exciting best. After returning to the stage 5 times during the final applause, Daniel Cohen and Guest Leader Ruth Rogers lead the orchestra from the stage and leave the audience wanting more.
Roughly two and a quarter hours after the end of the concert at 00.10 Sarah and I leave; tired but extremely happy at the end of another fantastic day of music making with the London Mozart Players.
Written by Scott Bywater, Principal Percussion and Co-Principal Timpani of the LMP.
Many thanks go to Sarah Stuart for her help, organisational skills and splendid playing as guest Principal Percussion on this concert.
David Angel studied at the Yehudi Menuhin School with Frederick Grinke and Jaqueline Salomons, and had many masterclasses with Lord Menuhin.
In 1971 he won an Associated Board Scholarship to study at the Royal Academy of Music with Frederick Grinke. He had regular chamber music coaching with Sidney Griller and won prizes for both solo and chamber music.
He has played quartets professionally since 1976; for eleven years with the Bochmann Quartet and since 1988, with the Maggini Quartet, which he co founded in that year. With the Quartet he has performed and broadcast widely as well as recording some thirty discs and working with composers such as James McMillan, Eleanor Alberga, Roxanna Panufnik, and extensively with Sir Peter Maxwell Davies.
With pianist David Elwin he has enjoyed a long standing duo: in September 2007 they made their maiden tour of Japan.
When his quartet schedule allows, he co-leads the 2nd violins of the London Mozart Players, a job he has held since 1995.
Much in demand as a teacher and quartet coach, he has been professor of quartet playing at the Birmingham Conservatoire since 1993. In addition to teaching privately, he has taught violin at Southampton University, the Birmingham Conservatoire, and as a guest at the Menuhin and Purcell schools.
LMP Gala Concert
A hundred or so people were privileged to attend the most delightful gala concert on Tuesday 29 May. The concert was genially hosted by Sir Vernon Ellis. Sir Vernon is an eminent businessman, chair of the British Council, and famous for his enduring support to music, especially opera, as recognised by his knighthood. The venue was one of the many stars of the evening; as out host explained, the venue was once a hotel, so the size of the reception area and its resemblance to the salons in which the music of Mozart and many others was originally performed was entirely explicable and appropriate. Such is Sir Vernon’s love of music that he considers himself self-indulgent rather than generous to host as many as 90 concerts each year.
On what was an unusually warm evening, many guests arrived having survived the inconvenience of the tube strike, to be welcomed in a way which made the cares of the day swiftly dissolve. The LMP indulged their guests in a multi-faceted feast from start to finish. Even before the main course of music, the guests enjoyed a champagne reception, with canapés and other hors d’oeuvres most of which were prepared by the multi-talented Julia Desbruslais, served generously and charmingly by members of the orchestra and at least one of their offspring. The reception provided an ample opportunity for mingling with friends old and new.
The concert was wonderful in so many ways. The programme was beautifully constructed and performed. Our ears adjusted to the rather intimate acoustic of this venue to the sound of the Magic Flute overture, conducted by Hilary Davan Wetton. Then we had another glimpse of the prodigious talent of Laura van der Heijden (BBC Young Musician of the Year 2012) performing the Tchaikovsky Rococo Variations with such apparent ease and finesse as if she’d been doing so far longer than her 17 years. Tasmin Little followed, backed by the string section, in “Winter” from Vivaldi’s Four Seasons. Such was the intimacy of the occasion that Tasmin took the time before playing to introduce the composer’s markings to the score, which gave some of us, at least, a new perspective on a familiar piece.
Howard Shelley has a great knack of putting the great music he plays into context, as those who manage to attend the pre-concert talks/interviews that are such a feature of LMP concerts well know. He led the orchestra through two movements of Mozart’s sublime concerto no 21, having explained how this was written in an extraordinarily productive period.
Those who assembled this programme might well have asked themselves “How do you follow that?” With a nod to Monty Python, perhaps they said “and now for something not completely different”. Somebody of undoubted genius (£10, please, Peter) but too young to have heard them live (that’s £20, please) claimed to recall the work of the incomparable Michael Flanders and Donald Swann, and in particular their song to the tune of Mozart’s horn concerto. With great ingenuity (£30) he approached a trumpet student and successful author, Cynthia Harrod-Eagles and commissioned her to produce an updated version, around the theme of the LMP’s parlous financial circumstances. Such was his persuasiveness (£40), that Cynthia accepted the commission and delivered a masterpiece.
With Messrs Flanders and Swann sadly no longer available, there was simply no choice but to plead, cajole or blackmail Sir Richard Stilgoe to perform the world premiere of this hilarious and linguistically demanding work. Whatever the measures taken to arrange his cooperation, they worked and the outcome was a masterwork, both in conception and delivery.
Viv Davies, the managing director of the “new” LMP took the opportunity to thank all concerned for their generous contributions to the evening, including Sir Vernon and Lady Ellis, the performers (all of whom had waived their fee) and the audience. Viv played particular tribute quite rightly to the members of the working group of musicians who are working tirelessly and almost sleeplessly on the various activities necessary to secure and enhance the future of the LMP. Representing that group, Paul Archibald, Julia Desbruslais and Peter Wright then introduced the main themes of these projects
As if that wasn’t enough, we were all further indulged with a delicious buffet supper, again served by the indefatigable LMP players, but who then had more time to mingle. It was a real privilege to be able to chat freely with the performers, and the evening came to an end all too soon.
Article by Nick Mallett
Judith graduated in Music from Birmingham University and completed her viola studies with Thomas Riebl in Salzburg, where she was solo violist in the Camerata Academica under the directorship of Sándor Végh, a post she held for 5 years.
Outside her schedule with London Mozart Players she was, until 2011, a founder member of the multi-award-winning Dante String Quartet, with whom she performed at major concert halls and festivals throughout the UK and Europe, winning the prestigious Royal Philharmonic Society Award for Chamber Music in 2007.
From 2010-13 she was violist with Ensemble 360, a versatile group of eleven musicians of international standing who enjoy a residency in Sheffield with Music in the Round, and with whom she again won the RPS Award for chamber music in 2013.
Judith’s varied freelance career also includes playing guest principal viola with the English Chamber Orchestra, the Philharmonia Orchestra, Royal Opera House, City of Birmingham Symphony Orchestra and The Academy of St Martin in the Fields. She is also solo viola in John Eliot Gardiner’s Orchestre Révolutionnaire et Romantique, which performs repertoire of nineteenth and early twentieth centuries on period instruments.
Since September 2013 she is also one of the principal violas with the Orchestra of the Royal Opera House, Covent Garden.
When did you join the LMP?
Where else do you work?
I’m a member of Britten Sinfonia, The Haffner Wind Ensemble and teach at the Royal College of Music and at the Purcell School. Any free time after that takes me up and down the country, working for other orchestras as guest principal, as well as giving masterclasses and doing the odd bit of session work.
When did you start playing the bassoon?
What is your first musical memory?
Playing for the first time ever in an orchestra. It was Shostakovich’s 5th Symphony with the National Youth Orchestra. I was only 12 and was totally overwhelmed by the sheer raw power of the music.
What is special about your instument?
It’s an old 1927 Heckel with a huge history, and it happens to have been made the same year as my house was built. It has a warm singing voice with many individual quirks, which always makes it interesting to play. Shostakovich said the bassoon was the instrument closest to the human voice; I don’t think you can get a better compliment than that.
What do you do in your spare time?
I love being outdoors, whether it’s just pottering in the garden, going for walks and cycles or having a barbeque. Friends and family are extremely important to me; there’s nothing better than sharing food and wine with those you love.
Listening to Mozart minuets could speed up your reaction times when working, according to a new study. Researchers from Kyoto and Harvard Universities found people of a range of ages worked more efficiently while listening to the soothing strains of a Mozart minuet.
Participants aged between eight and nine and 65 to 75 were asked to complete a Stroop task, where a word spelling out a colour is presented in a different colour (such as ‘red’ written in blue letters). When listening to Mozart quietly in the background, reaction times were faster and error rates were lower than when listening to no music at all, or listening to a modified version of the piece with introduced errors.
These findings help make the case that music, sometimes thought of as a pleasant byproduct of evolution, may have played an positive role in human evolution, regardless of cultural systems of harmony or pitch. It’s also further evidence of the Mozart effect, which suggests listening to classical music can make you more intelligent.
Click here for the complete article
The LMP performed at this wonderful hall on Friday 25th April 2014. We would like to thank everyone involved at the hall for inviting us to perform. Thanks also to Orchestras Live for their support with this event.
Howard Shelley was conductor and soloist and gave a great performance – as usual. The program included Poulenc Sinfonietta and Aubade (for Piano and 18 instruments). The concert concluded with Haydn Symphony 104 “London”.
Thank you to Sebastian Comberti and Howard for the pre concert talk. Members of the orchestra met the audience during the interval.
The staff at the hall were so friendly and helpful. They also provided yummy snacks and fruit with Tea during our breaks and made the orchestra feel extremely welcome.
We are really looking forward to re visiting in the future.
Michael studied with Nobuko Imai, Mischa Geller and Simon Rowland-Jones at the Royal Northern College of Music, where he achieved a Gmus RNCM and PP RNCM, and was the winner of the Dearden Academic Award.
At sixteen Julia Desbruslais won an open scholarship to study the cello with Florence Hooton at the Royal Academy of Music. During this time she won many awards including the Suggia Award and the Leverhulme Chamber Music Scholarship. Under the direction of Sydney Griller she was a founder member of the all-female Fairfield String Quartet. They enjoyed ten years touring Britain and Europe, winning major competitions, giving many live broadcasts for the BBC, and recording for Hyperion.
On leaving the Quartet, she became Co-Principal Cello with the London Mozart Players, where she regularly performs with the Chamber Ensemble and has appeared as a concerto soloist. She is also Principal Cello with the London Jupiter Orchestra, with whom she has performed John Taverner’s Eternal Memory at St John’s, Smith Square. She regularly plays as guest principal with many London orchestras, including the New London Orchestra and City of London Sinfonia.
She has a great passion for inspiring young children and is one of the leading lights in the vast education programme of the LMP. Her work has included performing to all ages from work with young children to the elderly in numerous and varied venues. Her work with young children led to the production of television workshops and compositional projects and she was responsible for the setting up of cello master classes and massed cello ensembles with young children. Julia holds posts as a cello teacher at Whitgift School and Eltham College, and a large private class. With her husband Michael Posner, they run the highly successful Summer Strings residential music courses for children of all ages.
She is a member of the cello quartet formed from the four cellists of the LMP, presenting concerts drawing on the works of the great cellist composers. Their first CD Petits Fours was received with great acclaim. Recent recordings include ‘Lullaby for a Lost Soul’ by Ronald Corp.
Sarah studied cello with Stefan Popov at the Guildhall School of Music and chamber music with Hans Keller and the Chilingirian String Quartet. She also took part in masterclasses with William Pleeth at the Aldeburgh Summer School. She has played in many orchestras and ensembles in the UK including the BBC Symphony orchestra, The Guildhall String Ensemble, the Orchestra of the Age of Enlightenment, Peter Gabriel’s New Blood Orchestra and Garsington Opera and Glyndebourne Touring Opera Orchestra for whom she has played principal cello.
She has made recordings for the Cello Classics label, Music for Two Cellos and ‘Petits Fours’, music for four cellos with the London Mozart Players cello section. Also on the Cello Classics label she has performed in a CD of music by the great pedagogue Julius Klengel.
Sarah is a keen chamber musician and has played with the Mistry String Quartet and was a member of the Mainardi Trio. She is now Artistic Director of The Chamber Players who play regularly at Festivals and venues throughout the UK, including Holywell Music Rooms, Imperial College and Buxton and Chichester Festivals with artists such as Ashley Wass, Gaby Lester, Tim Horton and Benjamin Nabarro.
Sarah also edits audiobooks for the Naxos AudioBooks label and has been involved in many exciting projects including The History of Classical Music and Famous Composers in collaboration with ClassicFM. She has performed on several of these discs including The Cellist of Sarajevo and Macbeth with music by oscar-winning composer Stephen Warbeck.
She has been a member of the London Mozart Players since 1998.
Louise Honeyman died on March 19th 2014. Louise was the Managing Director of the LMP during the 80’s and 90’s. She was the first Woman MD of a British Orchestra. Jane Glover was appointed, by Louise, as Artistic Director. In March 1989 she approached Croydon Council and they agreed to make the LMP their resident orchestra. Louise was also responsible for bringing in HRH Prince Edward as the Patron.
Louise was a much loved character and the LMP was her passion right through her retirement. She suffered a severe Stroke on March 15th 2014. Her partner was David Wilson who has been the General Manager of the orchestra since the 80’s. David bravely attended our concert on March 20th accompanied by Louise’s family.
We will all miss Louise tremendously. The concert on March 20th was dedicated to her memory. Our thoughts are with David and Louise’s family.
PRESS RELEASE: 12 February 2014
“A renaissance for the London Mozart Players!”
‘’……….it gives me more joy than I can say to perform and record with them, I am honoured to be their Conductor Laureate” (Howard Shelley)
The London Mozart Players, the UK’s longest established chamber orchestra and considered by many as one of Europe’s finest, is to become self-governing in a bold but characteristically creative move to counter recent funding cuts.
As of May 2014, when the LMP’s current principal conductor, Gérard Korsten, rests the baton at the final concert in their 2013/14 Fairfield Halls series, a core group of orchestral members led by Viv Davies, a former classical musician turned economist with 20 years senior management experience in the non-profit sector, will take up collective responsibility for the management and strategic direction of the orchestra, drawing upon a wealth of professional experience from within the ranks of the LMP.
Current members of the management team include Paul Archibald (Projects), Julia Desbruslais (Education) and Peter Wright (Operations). David Wilson (General Manager), Jenny Brady (Concerts Coordinator) and Martin Sargeson (Orchestral Librarian) will continue to provide crucial administrative, management and logistical support.
In support of the management team will be an impressive and experienced group of player ambassadors, led by Marieke Blankestijn, that will advise on the artistic direction of the LMP.
The LMP’s niche lies in interpretive research and understanding of performance style, but with the advantages of instruments designed for the modern concert hall and audience. Its mission is to perform classical music to the highest standards of excellence and to take music to communities where access to live concerts is limited. The orchestra is also committed to devising workshops for schools and hospitals, creating projects that bring people together and enrich lives through a shared musical experience. New plans and initiatives are now underway as the LMP is set to build exciting new partnerships within these communities.
There is unanimous commitment to ensuring the LMP will continue to occupy an exciting and dynamic position in the musical life of the UK and on the international stage. One of the LMP’s first engagements as a rejuvenated organisation will be a tour of China in May. In the meantime, a gala fundraising concert featuring Howard Shelley, Tasmin Little and Laura Van der Heijden will take place on 29 April in Kensington. Discussions are also underway with sponsors for concerts through 2014/15, and for a range of community-based projects in the south-east and around the UK.
“This orchestra is one of the jewels in the crown of British music.”(Hilary Davan Wetton)
For further information on the LMP and its activities please contact:
Paul Archibald: 07973 731866, email@example.com
Peter Wright: 07831 157618, firstname.lastname@example.org