Kensington Symphony Orchestra

Founded in 1956, London's Kensington Symphony Orchestra is one of the best known non-professional orchestras in Britain. It regularly attracts the best non-professional players from around London for its concerts at St John's, Smith Square and other venues in London. Like many British amateur orchestras it finances its concerts not only through ticket sales, charitable donations and corporate support, but through its playing members who pay subscription fees.

History

KSO has only had two principal conductors — its founder, Leslie Head, and the current conductor, Russell Keable who has been with the orchestra since 1983.

Under Leslie Head

"All the main orchestras in those days were doing very boring programmes, really, rarely anything unusual—and in a way I think we helped to change that" said Leslie Head. He was a 33-year-old freelance horn player and part-time conductor when he first assembled Kensington Symphony Orchestra at Queen Alexandra House, next door to the Royal Albert Hall and across the road from the Royal College of Music in Kensington. Head’s original concept was that this would be a repertoire orchestra, one that provided conservatoire students with the opportunity to read through pieces they might not otherwise set eyes on before professional auditions. "When I was a student we had three hours of orchestra a week, the same amount that the college were doing in 1850—and look what had happened to music in those 100 years!" That first Saturday-morning session in May 1956 was spent tackling works including Brahms’s First Symphony and Strauss’s Till Eulenspiegel, with some Schumann thrown in.

It wasn’t long before the students decided they wanted to give a concert. A début programme was scheduled for 5 December 1956; but KSO’s first appearance actually came a couple of weeks earlier, when Head was asked to put on a last-minute performance at Hove Town Hall in support of the Hungarian Relief Fund. The clarinet section for that first concert comprised Alan Hacker and Paul Harvey—both familiar names to today’s clarinettists—and a young Royal Artillery bandsman called Harrison Birtwistle. In honour of the Hungarian cause, the programme included Bartók’s Piano Concerto No. 3, written only ten years earlier. Even in that first concert, KSO’s predilection for the new, the unfamiliar and the downright difficult—what one of Head’s players would come to refer to as ‘backs-to-the-wall-again’ music—was shaping itself.

Powered by Head’s hard work, and with its few expenses met by a postwar Labour government keen to support anything that might fall under the remit of further education, KSO flourished. Fundamentally, Head still saw it as a repertoire orchestra, something that was to continue for two decades and more. A typical schedule from 1978 has the orchestra rehearsing Brahms and Bartók one week, Bliss and Strauss the next, Elgar the week after. Yet the concerts continued, and grew more and more ambitious. Prokofiev’s Alexander Nevsky received an early UK performance from KSO at the 1963 St Pancras Festival; several now-standard works including Bernstein’s Symphonic Dances from West Side Story, Mahler’s Das Klagende Lied and Puccini’s Messa di Gloria were introduced to UK audiences by KSO. As the orchestra for Opera Viva, another of Head’s brainchildren, KSO (in all but name—the sponsoring Fulham council insisted they dropped the "Kensington") performed in well-received exhumations of early Wagner, Verdi and Donizetti operas with distinguished singers including Pauline Tinsley and the young John Tomlinson.

Yet the boldest venture was perhaps KSO’s 1961 UK premiere of the vast, original 1901 version of Schoenberg’s Gurrelieder. The huge forces this required (eight of each woodwind instrument, for a start) put it way beyond the capacity and budget of most groups employing professionals. This, Head thought, was exactly where KSO should be coming in. Not everyone agreed. "I wrote to the Arts Council to ask for an extra £100," he remembers. “And they answered saying that I shouldn’t even be attempting a work like this, and that they had told the National Association of Music Societies not to give us anything either.” The performance went ahead regardless, and was a huge success.

Under Russell Keable

In the 1983-4 season, Head retired as KSO’s music director and handed over to Russell Keable. By this time the balance had shifted firmly towards amateur players. Changes in conservatoire curricula during the 1970s had meant that their students no longer needed KSO to bridge the gap. And so, the age range of the orchestra had begun to broaden, as had the geographical spread of its players, who came from all over London and, occasionally, beyond. The 30th anniversary concert in 1986 was celebrated with an all-British programme of Walton, Bax, Stanford and Wilfrid Josephs in the Queen Elizabeth Hall. This marked KSO’s South Bank début. “It was,” says Keable, “also a milestone in terms of performance quality.” At around this time the orchestra began to give concerts in St John's, Smith Square. “It was a really happy orchestra, and that was absolutely key in its development. If an orchestra is happy socialising it will play better,” said Keable.

Today, St John’s is effectively KSO’s performing home. Most of its six concerts each year are given there, with occasional visits to the Cadogan Hall or the Queen Elizabeth Hall. The line-up varies very slightly from concert to concert, but the orchestra inspires considerable commitment. The four woodwind principals have around 75 years of service between them. Many are National Youth Orchestra of Great Britain alumni, people who chose not to turn professional as players, and many are employed in the music industry in other capacities.

In 1996, Korngold’s opera, Die tote Stadt, received its UK premiere, a concert performance by the Kensington Symphony Orchestra conducted by Russell Keable at the Queen Elizabeth Hall, with Ian Caley (Paul) and Christine Teare (Marie/Marietta), thirteen years before the first UK staged performance at the Royal Opera House, Covent Garden. Head’s longstanding tradition of programming unusual or neglected works by British composers has been maintained—perhaps most obviously in the premiere recording of Sir Henry Walford-Davies’ once-famous cantata Everyman, made with the London Oriana Choir in 2004. That recording was Gramophone Magazine's Editor’s Choice in February 2005. Also in 2004, the orchestra together with the BBC Concert Orchestra premiered Errollyn Wallen’s Spirit Symphony – Speed-Dating for Two Orchestras, conducted by Russell Keable and broadcast live on BBC Radio 3. That performance won the BBC 3 Listeners’ Award in 2005. That year, the orchestra celebrated its 50th anniversary by performing at the Barbican Centre with pianist Nikolai Demidenko. And in 2007, at Cadogan Hall, the Kensington Symphony Orchestra, once again under Russell Keable's baton, accompanied Myleene Klass, Alfie Boe, Natasha Marsh and Natalie Clein for EMI Classics, in a concert celebrating the 10th anniversary of the EMI Music Sound Foundation.

The orchestra is more involved than ever in promoting new compositions. In 2004 KSO commissioned and premiered Hovercraft by Joby Talbot, which he then incorporated into the ballet Chroma by the Royal Ballet in 2007. Works by John Woolrich, Peter Maxwell Davies, Robin Holloway and both Colin and David Matthews have also featured in recent years, often in their London or UK premières. For composers, the chance to have their work rehearsed at proper length and performed with enthusiasm can be a welcome change from the professional norm. For the players, breaking new ground brings greater risks but commensurate rewards. "An amateur orchestra can be simply there for the indulgence of its members, or it can try to do things that professional orchestras either can’t or don’t want to," says Keable. "It can try to make a difference."

Recent repertoire

October 2013
: Bartók: Dance Suite
Barber: Knoxville: Summer of 1915
Adams: Harmonielehre
June 2013
: Matthew Taylor: Storr
Lyadov: Eight Russian Folk Songs
Dvořák: Symphony no.7
May 2013
: Mahler: Symphony no.7
March 2013
: Glinka: Ruslan and Lyudmila
Schoenberg: Verklärte Nacht
Rimsky-Korsakov: Scheherezade
January 2013
: Steiner: Gone with the Wind
Jonny Greenwood: Three Scenes from 'There Will Be Blood'
Bernstein: On the Waterfront - Symphonic Suite
November 2012
: Magnus Lindberg: Gran Duo
Prokofiev: Violin Concerto No. 2
Schumann: Symphony No. 4
October 2012
: Berlioz: Overture: Benvenuto Cellini
Berg: Three Pieces for Orchestra
Stravinsky: The Firebird (Complete Ballet)
June 2012
: Peter Nagle: Until I Die There Will Be Sounds (World première)
Sibelius: Symphony No. 7
Brahms: Symphony No. 1
May 2012
: Puccini: Tosca
Mar 2012
: Elgar: In the South: Alassio
Walton: Symphony No. 2
Janáček:Sinfonietta
January 2012
: Hindemith: Concert Music for Strings and Brass
Brahms: Variations on a Theme of Haydn
Dvořák: Cello Concerto with Philip Higham
November 2011
: Pärt: Cantus in memoriam Benjamin Britten
Shostakovich: Symphony No. 9
Vaughan Williams: Symphony No. 6
October 2011
: Stephen Goss: The Shard (World première)
Peter Maxwell Davies: Symphony No. 5
Sergei Rachmaninov: Symphony No. 2
June 2011
: Smetana: Overture, The Bartered Bride
Ayres: No. 37b (London première)
Dvořák: Symphony No. 9 "From the New World"
May 2011
: Lutosławski: Chantefleurs et Chantefables
Mahler: Symphony No. 4
March 2011
: Martinů: Memorial to Lidice
Stravinksy: Symphony in Three Movements
Vaughan Williams: A Pastoral Symphony (Symphony No. 3)
January 2011
: Poulenc: Les Biches
Rachmaninov: Piano Concerto No. 1
Beethoven: Symphony No. 8
November 2010
: Strauss: Perpetuum Mobile: musikalischer Scherz
HK Gruber: Charivari
Dukas: The Sorcerer's Apprentice
Tchaikovsky: The Nutcracker, Act 2
October 2010
: Thomas Adès: Dances from "Powder her Face"
David Matthews: Symphony No. 7 (London première)
Edward Elgar: Symphony No. 2
June 2010: Wagner: Siegfried - Forest Murmurs
Arnold: Larch Trees
Sibelius: Tapiola
Nielsen: Symphony no.4 The Inextinguishable
May 2010: Schubert: Symphony no.8 Unfinished
Bruckner: Symphony no.9
March 2010: Dean: Komarov's Fall
Britten: Sinfonia da Requiem
Holst: The Planets
January 2010: Dohnányi: Symphonic Minutes
Tchaikovsky: Violin Concerto with Jack Liebeck
Stravinsky: Symphony in C
November 2009: Janáček: Taras Bulba
McCabe: Symphony 'Labyrinth'
Shostakovich: Symphony no.5
October 2009: Debussy: Iberia
Ullmann: Symphony No. 2
Stravinsky: Petrushka (1911 version)
June 2009: Elgar: Froissart
Strauss: Horn Concerto No. 2 with Richard Watkins
Brahms: Symphony No. 3
May 2009: Mahler: Symphony No. 9
March 2009: Michael Torke: Bright Blue Music
Gershwin: An American in Paris
Ives: Decoration Day
Copland: Symphony No. 3
January 2009: Fauré: Pelléas et Mélisande Suite
Beethoven: Violin Concerto with Jack Liebeck
Sibelius: Symphony No. 3

External links

1. http://www.kso.org.uk

2. http://www.classicalsource.com/db_control/db_features.php?id=3782