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BY Larisa    December 4, 2017

Gift Vouchers The perfect Christmas Gift for a music-lover. Redeemable for any of our future concerts, with a wide range of repertoire and valid for one year. Make someone’s Christmas that little bit more musical this year. Buy Gift Vouchers   CDs Choose from a selection of our CDs. Free UK delivery applies. Relax and unwind today. Buy CDs

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Our Partners

BY John Bowker    December 12, 2016

The Oxford Philharmonic Orchestra would like to thank our partners, who help us to bring our music to more people than would otherwise be possible.

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Welcome from the Music Director

BY John Bowker    August 15, 2016

Planning each new Oxford Philharmonic season is a labour of love as we endeavour to present a wealth of music in the company of some of the finest exponents of the repertoire. Whether it is Valery Gergiev returning to launch the season, Anne-Sophie Mutter performing Brahms or Maxim Vengerov in a special chamber collaboration with The Soloists of the Oxford Philharmonic, we seek to create moments that capture the Orchestra’s ethos of musical integrity and for making strong musical statements. Of particular significance this season is a focus on the great Russian masterworks. From the early influence of Glinka on the national musical identity to the exotic writings of Borodin and Rimsky-Korsakov, the soaring melodies of Rachmaninov and Tchaikovsky to the gripping orchestral brilliance of Stravinsky and Shostakovich, this repertoire lifts high both audience and orchestra. Joining us are leading interpreters Valery Gergiev, Khatia Buniatishvili, Vladimir Ashkenazy, Yuri Temirkanov, and Anna Tsybuleva (winner of the 2015 Leeds Piano Competition) as well as our own principal players, Natalia Lomeiko and Yuri Zhislin, who will be your guides across this vast musical landscape. I am pleased to welcome to Oxford the star cellist Gautier Capuçon playing Haydn in the same space the composer himself once conducted. Lars Vogt will bring a special energy to both the keyboard and the conductor’s baton while two charismatic artists, the cellist Steven Isserlis and mandolinist Avi Avital, will both make welcome returns with repertoire from two very different eras. As many of our patrons know, I have a deep affection for Mozart’s music and am delighted to be presenting a number of his works this season with colleagues including the soprano Rebecca Evans, flautist Emmanuel Pahud and a protégé of mine, the emerging young Taiwanese pianist Szuyu Su. In November, we gather with many friends and collaborators to mark a significant milestone with the 15th anniversary celebration of our position as Orchestra in Residence at the University of Oxford. Our many initiatives over the years have included masterclasses, apprenticeships in orchestral playing, tuition, composer workshops, concerto competitions, and performances and recordings with leading college choirs. Additionally, through our concert ticket discount scheme we have ensured access to world-class performances for so many students. I feel truly proud of all we have achieved. Indeed, we launch an exciting new concert format in January 2018 in a collaboration between Simonyi Professor of Mathematics at the University of Oxford, Marcus du Sautoy, and the Orchestra who together will unveil the hidden mathematical secrets behind the masterworks. This season holds a special significance for me for so many reasons. As our Orchestra approaches its 20th birthday, I too celebrate a significant personal landmark with the 50th anniversary of my arrival to this country. As a budding pianist who dreamt of a life in music, the UK provided me with an education and an abundance of opportunities to embark on a career as a performing musician. Not in my wildest dreams would I have imagined that Oxford, a city that featured extensively in my early career, would become my musical home and, with the founding of our Orchestra, the heart of my creative efforts for almost 20 years and counting. From stepping off a plane aged 12 to standing at Buckingham Palace receiving an MBE for services to music in Oxford, this has been the most magical of journeys. I reminisce by way of thankful acknowledgment of the multitude of opportunities this country has afforded me. And so to our 2017/18 season, one filled with wonder, outstanding music and thrilling collaborations. I would like to invite you to join us on another journey of musical delights. Marios Papadopoulos MBE, Music Director

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Sibelius's Violin Concerto and its origins

BY John Bowker    May 9, 2016

OPO's Nick Breckenfield explains the origins behind the masterpiece... What's so different about the 1904 version of the Sibelius Violin Concerto? It was first performed in 1904 before revisions were made by the composer in 1905: this became the version that is commonly performed today. However, as noted by the publisher Robert Lienau Musikverlag, ‘the early version from 1904 did survive but previously could only be made public on rare occasions'. The early version of the violin concerto is generally classified as more dramatic than the revised version It exerts a peculiar charm and provides, together with the revised version of 1905, a unique insight into the workings of the composer. In order to meet the great interest of professionals surrounding this version, and to mark the composer’s 150th birthday, the heirs and publisher have now decided to release the early version of the concerto. The original version of Sibelius’s Violin Concerto was composed in 1903 In November 1902, Sibelius went to Berlin to conduct his revised En Saga; he could have met there the renowned violinist (and one time leader of the Helsinki Philharmonic Orchestra), Willy Burmester, who was very keen to hear about the Concerto. Indeed, Burmester followed its progress closely, and Sibelius wanted him to accept the dedication of the work as well as giving its premiere (tentatively pencilled for March 1904). But, characteristically in Sibelius’s life, economics intervened. Sibelius needed to take evasive action because of his finances and arrange a fundraising concert before the scheduled premiere. To make an impact, he needed a new work, and so had to use the Violin Concerto. Ironically the concerts were delayed until 8, 10 and 14 February 1904 – if only he could have waited a month, Burmester could have done the premiere. Instead, the honour fell to Viktor Nováček, teacher at the Helsinki Musical Academy, with Sibelius conducting. Unfortunately, Nováček was not up to the task and critical reaction was not good, especially from Karl Flodin, who wrote about the performance: ‘[Nováček’s] playing offered a mass of joyless things. From time to time there were terrible sounds and it was impossible to fathom the composer’s meaning, so great was the cacophony’; then about the work itself: ‘The concerto is, to be honest, boring – something which could not hitherto be said about a composition by Jean Sibelius’. However, Burmester was still keen and urged Sibelius to reschedule performances that October, but Sibelius, always mindful of what Flodin had to say (he had already revised two movements of the Lemminkäinen Suite because they had not satisfied this particular critic), had already decided to withdraw the work for revision. In June 1904, he had written to Axel Carpelan: ‘I shall withdraw my Violin Concerto; it will not appear again for two years. That is my great secret sorrow at present. The first movement is to be formed completely anew, also the proportions of the Andante, and so on (although there is no Andante, and the slow movement Adagio is the least changed). The concerto eventually saw the light of day again on 19 October 1905 Unfortunately Burmester was not the soloist – this time it was the Orchestra’s leader, Karl Halir – simply because by the time the premiere was settled upon (only four months earlier, which meant that Sibelius had to quickly finish his revisions), Burmester’s diary was already full. Perhaps not surprisingly, despite his initial support and enthusiasm, Burmester’s patience was vastly over-extended and he never performed the work. The revised version of the concerto has become one of the twentieth-century’s most popular concertos, but only now – following the composer’s 150th anniversary year in 2015 – has the early version, newly edited from the manuscript in the Helsinki University Library and published by Robert Lienau Musikverlag, been released for regular performance (following a recording for a complete edition of Sibelius twenty-five years ago). Taking Flodin’s criticisms to heart, particularly the swingeing statements about the virtuosity of the original version, Sibelius toned down much of this effect in the revision, taking out whole themes and altering others: a second cadenza in the first movement was dispensed with entirely and, in total, some five minutes’ worth of music was cut. Apart from the slow movement, where there is no change between versions in their number of bars (sixty-nine), the first version is longer: the opening movement in the original has 542 bars, compared to the revised version’s 499 (though that needs to take into account Sibelius’s removal of the first version’s sixty-four-bar second solo cadenza), while the final movement was originally 326 bars long, as opposed to the revision’s 268 bars. For those that know the revised version, the opening and closing of the first movement will be familiar. A carpet of shimmering strings underpins the icy, soaring theme for the soloist to float into view. The first noticeable difference is the two abrupt chords followed by a dotted phrase which becomes more forceful, topped by two loud iterations of the two chords which send the soloist spiralling off under a menacing chugging accompaniment (a foretaste of the finale). You’ll recognise some of the ensuing accompaniment (here sombre bassoons and pizzicato cellos) but not the virtuosic musings from the soloist. A serener plateau is reached. Again a bassoon and violin passage offers an uneasy stalemate, from which the violin soars until we’re back into familiar territory as the orchestra purposefully breaks in, before dying away completely to allow the solo violin its first short cadenza, twice punctuated by thundering orchestral chords. When the orchestra returns, the soloist continues in stately terms, commanding the other instruments. Back again comes the two chords and dotted motif, sometimes referred to as ‘Beethovenian’. Wind and solo violin (later underpinned by slow pizzicato) review the main theme. Timpani thunder effects, grumbling bassoons and pirouetting soloist carry the music uncertainly forward, with a little Bartókian ripple for clarinet, and then an extended, slowly climbing passage led by the oboe. This leads to the Bachian second cadenza (which Sibelius omitted in his revision), the soloist climbing higher still. The thrusting coda which ensues brings the movement to a recognisable close. The ABA form of the B-flat slow movement Romanza is introduced by meandering wind, which eventually, on a stepped brass chord, ushers in the violin with the noble, long-breathed theme. Low strings, then blaring brass, build the tension in the chromatic minor middle section, over which the soloist seems at first to offer a calming influence. The solo violin is then is assimilated into the Elgarian grandeur of the music as it returns to the first theme, ending with sombre brass and timpani chords. The differences you’ll hear are a more virtuosic solo part and a short, flighty, final cadenza. The famous comment about the D major final movement still stands the test of time and works for the original version, with the syncopated soloist constantly underpinned by the distinctive chugging accompaniment. ‘A polonaise for polar bears'  Donald Francis Tovey on the finale But the passage Tovey refers to is much delayed in the original version, as the main theme is first followed by another Beethovenian melody before a reprise of the theme. Only then do we get the dance parody, over which the soloist flies freely. Brilliantly taxing for the soloist as it is exhilarating for the audience, this rondo, with all the expected returns of the main themes, has the soloist revelling in high harmonics, double- and treble-stopping and cross rhythms. The final climactic bars contrast the upward scales of the soloist with the forceful chords of the orchestra. Maxim Vengerov performs the original 1904 version of the Sibelius Violin Concerto with the OPO: 5 June Sheldonian Theatre, 6 June Barbican  

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Sheldonian seating plan

BY John Bowker    April 26, 2016

Welcome from Festival Artistic Director Marios Papadopoulos

BY Gillian Berry    March 1, 2016

28 July - 5 August 2018 Piano Festival Brochure 2018 The art of the piano remains one of boundless discovery and possibility. As I reflect on almost two decades since the founding of our festival in Oxford, each year never fails to bring fresh revelations to myself, our participant pianists, audiences and indeed the learned faculty of artists and speakers, each of whom never tire in their own personal journey with the instrument and its music.   The pianists invited to perform and engage in masterclasses represent an important stage in a young player’s musical life when they realise the many years of work gained through formal training and begin to make their way on the world stage. As this festival demonstrates, learning never stops and in an environment quite different from the scrutiny of competition, we offer an opportunity for all who attend to grow, whether as artists, educators or music-lovers. We open with a towering personality of the piano world. Festival Patron, Alfred Brendel, will offer invaluable insights into the performance of Mozart’s works for keyboard ahead of an evening in the company of Piotr Anderszewski and Beethoven’s Diabelli Variations. A cornerstone of the Festival remains the representation of the many schools of playing. A programme of masterclasses and talks include Yoheved Kaplinsky, Chair of the Piano Department at Juilliard, Anne Queffélec, Niel Immelmann and our dear friend, Dame Fanny Waterman, all of whom offer a unique perspective formed from a lifetime dedicated to teaching and performance.   Recital highlights are many: Anne Queffélec spans the baroque and classical age from Bach, Vivaldi and Handel to Beethoven. The inimitable Menahem Pressler will once again offer audiences an unmissable evening in the company of Handel, Mozart, Debussy and Chopin. We include a focus on the art of accompaniment with a masterclass and concert featuring Julius Drake together with leading tenor, Nicky Spence. Richard Goode, a pianist of depth and refinement, returns following his scintillating performance last year. To close the festival our President, Sir András Schiff completes his survey of Bach’s monumental treatise with Book II of the Well-Tempered Clavier. In addition to the wonderful campus of St. Hilda’s College and the Jacqueline du Pré Music Building, we make good use of the many historic performance spaces around the city of Oxford. This year’s concerts take place at Christ Church Cathedral, Merton College Chapel, St John the Evangelist Church, the Holywell Music Room (Europe’s oldest dedicated concert space) and the Sheldonian Theatre, home to the Oxford Philharmonic Orchestra who will accompany the brilliant young Korean, Seong-Jin Cho, in Chopin’s virtuosic first piano concerto. In bringing together some of the most promising young talent for an intensive week of exploration through masterclass, lecture and performance, we have but one objective: to ask the right questions. Whether unlocking technical barriers, offering new perspectives on interpretation or simply passing on invaluable experience, the Oxford Piano Festival stands at a vital crossroads for aspiring talent who must all work to forge their own path with the instrument.   With the opportunity to learn from the greatest living exponents of the instrument, I hope you too will be a part of this journey. Media partner

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Piano Festival

BY Gillian Berry    March 1, 2016

How to Apply

BY Gillian Berry    March 1, 2016

Entry Requirements Participants: We welcome applications from advanced piano students of all nationalities born on or after 28 July 1991.  Observers: Open to all.  Deposit & Cancellation Policy: Observers must pay a non-refundable deposit of £100 upon application. Participants must pay a non-refundable deposit of £100 upon acceptance. Participants and observers who withdraw from the Festival before 14 July will receive a refund of all but their £100 deposit. Those who withdraw after this date (including private tuition) will not receive a refund. Payment for Observers and Participants: Full payment must be received by 29 June. Scholarships: A limited number of scholarships are available to participants in need of financial assistance. Please state on the application form that you would like to be considered for a scholarship. Festival Pass Discount for Returning Attendees:  All adults who have attended as full-time participants or observers in the past are eligible for a special discount of £25.     Category Prices Participant Festival Pass (28 July – 5 August) £625 (under 18 £600) Observer Festival Pass (28 July – 5 August) £300 (under 18 £275) Standard single room + meals £580 En suite single room + meals £680 Standard twin room + meals (per person) £500 En suite twin room + meals (per person) £600 Observer private tuition £80 Returning attendee discount £25      Deadlines Participants 12 April application deadline 29 June final masterclass repertoire deadline 29 June payment deadline Observers 29 June application and payment deadline

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Observer Application Form

BY Larisa    January 25, 2016

Piano Festival Observer Form 2018 Title Invalid Input First Name(*) Invalid Input Last Name Invalid Input Address(*) Invalid Input City(*) Invalid Input Postcode(*) Invalid Input Country(*) Invalid Input Telephone Number(*) Invalid Input Email address(*) Invalid Input Category(*) Observer Festival Pass £300Under 18 £275Invalid Input Please select your preferred accommodation(*) Standard single room + meals £580En suite single room + meals £680Standard twin room + meals (per person) £500En suite twin room + meals (per person) £600No accommodation, no meals requiredInvalid Input I would like Observer Private Tuition(*) YesNoInvalid Input 80 pounds per hour I am an adult and previously attended the Festival full time(*) YesNoInvalid Input A short biography 50 words maximum Invalid Input I wish to make a donation to support the festival please send me further information YesNoInvalid Input Additional information queries or comments Invalid Input Security Question(*) Invalid Input To help us prevent automated form submissions, please type the characters above into the box.

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Participant Application Form

BY Larisa    January 25, 2016

Piano Festival Participant Form 2018 Title(*) Invalid Input First Name(*) Invalid Input Last Name(*) Invalid Input Date of Birth(*) We welcome applications from advanced piano students of all nationalities born on or after 28 July 1991. Address(*) Invalid Input City(*) Invalid Input Postcode(*) Invalid Input Country(*) Invalid Input Telephone Number(*) Invalid Input Email address(*) Invalid Input Category(*) Participant Festival Pass - £625Under 18 - £600Invalid Input Do you require a visa to enter the UK(*) YesNoInvalid Input Please note that successful applicants requiring visas will be made a conditional offer of a Festival place, which may be confirmed ONLY by providing proof of visa application and flight tickets by one month after receiving the offer. Please Choose(*) I am applying for scholarship support. Please fill in the sum belowI will be unable to attend in the event that I am not awarded a scholarshipI am not applying for scholarship support Invalid Input Please specify amount(*) Invalid Input Please select your preferred accommodation(*) Standard single room + meals £580En suite single room + meals £680Standard twin room + meals (per person) £500En suite twin room + meals (per person) £600No accommodation, no meals requiredInvalid Input Note: For those requesting a scholarship, only the cost of a standard single room + meals will be covered. If you wish to stay in a different room, you will be charged for the excess. I am an adult and previously attended the Festival full time(*) YesNoInvalid Input A short biography 150 words maximum(*) Invalid Input A link to audio or video recording of your playing including at least one work from the Classical or Romantic era(*) Invalid Input Proposed repertoire for the masterclasses(*) Invalid Input First choice masterclass teacher Julius Drake Richard GoodeNiel ImmelmanYoheved KaplinskyMarios PapadopoulosMenahem PresslerAnne QueffélecSir András SchiffInvalid Input Second choice masterclass teacher Julius Drake Richard GoodeNiel ImmelmanYoheved KaplinskyMarios PapadopoulosMenahem PresslerAnne QueffélecSir András SchiffInvalid Input Third choice masterclass teacher Julius Drake Richard GoodeNiel ImmelmanYoheved KaplinskyMarios PapadopoulosMenahem PresslerAnne QueffélecSir András SchiffInvalid Input Fourh choice masterclass teacher Julius Drake Richard GoodeNiel ImmelmanYoheved KaplinskyMarios PapadopoulosMenahem PresslerAnne QueffélecSir András SchiffInvalid Input Fifth choice masterclass teacher Julius Drake Richard GoodeNiel ImmelmanYoheved KaplinskyMarios PapadopoulosMenahem PresslerAnne QueffélecSir András SchiffInvalid Input Sixth choice masterclass teacher Julius Drake Richard GoodeNiel ImmelmanYoheved KaplinskyMarios PapadopoulosMenahem PresslerAnne QueffélecSir András SchiffInvalid Input Additional information queries or comments Invalid Input Security Question(*) Invalid Input To help us prevent automated form submissions, please type the characters above into the box.

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Cookies

BY Gillian Berry    September 29, 2015

This website (oxfordphil.com) uses cookies to store information on your computer. Cookies help the Oxford Philharmonic Orchestra provide you with the best website experience. You can accept or decline cookies by modifying the settings in your browser. However, you may not be able to use all the features of our website if cookies are disabled. Cookies are small pieces of data that the site transfers to the user’s computer hard drive when the user visits the website. Our website uses only session cookies which are erased when the user closes the Web browser. The session cookie is stored in temporary memory and is not retained after the browser is closed. Session cookies do not collect information from the user’s computer. They will typically store information in the form of a session identification that does not personally identify the user.

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Privacy Policy

BY Gillian Berry    September 29, 2015

The Oxford Philharmonic Orchestra is committed to protect the privacy of individuals who visit the website and who make use of the on-line facilities. This privacy policy provides you with information in terms of articles 19 and 20 of the Data Protection Act. It also takes consideration of Recommendation 2/2001 of the Article 29 Data Protection Working Party, adopted on 17 May 2001, on certain minimum requirements for collecting personal data on-line. The policy can be easily accessible via a link at the bottom of each web page. Data controller The data controller of this website is the Oxford Philharmonic Orchestra whose office is situated at the London office, 29a Teignmouth Road, London NW2 4EB. Information collected and purpose download information When you visit our website the following information will automatically be processed and this solely for the use of this association: the requested web page or download; whether the request was successful or not; the date and time when you accessed the site; the Internet address of the web site or the domain name of the computer from which you accessed the site; the operating system of the machine running your web browser and the type and version of your web browser. Cookies: cookies are small pieces of data that the site transfers to the user’s computer hard drive when the user visits the website. Our website uses only session cookies which are erased when the user closes the Web browser. The session cookie is stored in temporary memory and is not retained after the browser is closed. Session cookies do not collect information from the user’s computer. They will typically store information in the form of a session identification that does not personally identify the user. Your rights as data subject As an individual you may exercise your right to access the data held about you by this company by submitting your request in writing to the data controller. Although all reasonable efforts will be made to keep your information updated, you are kindly requested to inform us of any change referring to the personal data held by the association. In any case if you consider that certain information about you is inaccurate, you may request rectification of such data. You also have the right to request the blocking or erasure of data which has been processed unlawfully. Links to other websitesTo give you a better service our site can connect you with a number of links to other local and international organisations and agencies. When connecting to such other websites you will no longer be subject to this policy but to the privacy policy of the new site. Changes to this privacy policy If there are any changes to this privacy policy, we will replace this page with an updated version. It is therefore in your own interest to check the "Privacy Policy" page any time you access our web site so as to be aware of any changes which may occur from time to time. Feedback Any comments or suggestions that you may have and which may contribute to a better quality of service will be welcome and greatly appreciated.

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Home

BY Gillian Berry    September 22, 2015

Terms and Conditions

BY    January 28, 2014

This is the website of the Oxford Philharmonic Orchestra Productions Ltd (Oxford Philharmonic Orchestra) The Oxford Philharmonic Orchestra Productions Ltd is a private company limited by shares registered in England and Wales with company registration number 3592323. Its registered office is 29a Teignmouth Road, London NW2 4EB. It is a wholly owned subsidiary of the Oxford Philharmonic Orchestra Trust, a registered charity (number 1084256) which is run by a board of trustees as a separate entity to the Oxford Philharmonic Orchestra Productions company. DisclaimerThe Oxford Philharmonic Orchestra is committed to the highest standard and quality of information and every attempt has been made to present up-to-date, accurate information. However, the Oxford Philharmonic Orchestra can accept no liability for any loss, damage or inconvenience caused in the event that information provided here contains errors. GeneralIn accessing information from this website the user agrees to be bound by these terms and conditions of use as set out below. The website contains proprietary notices and copyright information, the terms of which the user agrees to observe and follow. SecurityThe Oxford Philharmonic Orchestra endeavours to take all reasonable steps to protect users’ personal information. The Oxford Philharmonic Orchestra is registered under the terms of the 1988 Data Protection Act. The personal information that you enter into online registration forms will be held securely and will not be used for any purpose other than those necessary to fulfil our role as a service provider. The Oxford Philharmonic Orchestra makes no representations as to the security quality or propriety of any website which may be accessed through this website and accepts no liability for the content or for any loss or damage caused or alleged to have been caused by the use of or reliance on information contained in such websites or goods or services purchased therefrom. Licence for website accessThe Oxford Philharmonic Orchestra grant you a limited licence to access and make personal use of this website, but not to download (other than page caching) or modify it, or any portion of it, except with express written consent from the Oxford Philharmonic Orchestra. This licence does not include any resale or commercial use of this website or its contents; any collection and use of any product listings, descriptions, or prices; any derivative use of this website or its contents; any downloading or copying of account information for the benefit of another merchant; or any use of data mining, robots, or similar data gathering and extraction tools. This website or any portion of this website may not be reproduced, duplicated, copied, sold, resold, visited, or otherwise exploited for any commercial purpose without our express written consent. ErrorsThe Oxford Philharmonic Orchestra endeavours to ensure that the information shown on the website is as accurate as possible. The Oxford Philharmonic Orchestra cannot be held responsible for typographical errors on this site, including but not limited to those regarding price. We reserve the right to make changes to the website including prices, products, and terms and conditions without any notice being given. Conditions of Sale Tickets cannot be refunded except in the case of a sold-out or cancelled concert. We reserve the right to change artists and programmes where unavoidable. We reserve the right to refuse admission. Exchanges Tickets can be exchanged for another concert, or a credit voucher valid for six months, provided they are returned to the Oxford Philharmonic Orchestra's Box Office at least two weeks before the concert. An administration fee of £2 per ticket will apply. Refunds We do not offer refunds unless a concert is cancelled. We reserve the right to substitute artists and change advertised programmes at the last moment if necessary due to unforeseen circumstances. For sold out concerts only, we will accept returned tickets up to 1 hour before the start of the concert and attempt to re-sell them for you. While we cannot guarantee resale, if the tickets are resold we will issue you with a refund. All returned & exchanged tickets incur a £2 administration fee per ticket.  Subscription tickets cannot be refunded and can only be exchanged for events within the same season. Data Protection Data Protection Any information stored by the Oxford Philharmonic Orchestra will not be passed to third parties. CopyrightThe University of Oxford Logo is the registered trademark of the University of Oxford. The Oxford Philharmonic Orchestra is licensed to use the mark in the branding of events in the United Kingdom. The Oxford Philharmonic Orchestra Trust is a registered charity which is not part of the University of Oxford. The photography used on this site is copyright of the photographer listed with the photograph. If you wish to reproduce any images on this site you must obtain permission from the Oxford Philharmonic Orchestra or the relevant photographer. All other content of this website is © the Oxford Philharmonic Orchestra. All rights reserved.

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Contact Us

BY Super User    September 23, 2013

Box office: 01865 980 980 General enquiries: 01865 987 222 Email: This email address is being protected from spambots. You need JavaScript enabled to view it. document.getElementById('cloak86fe942daba8724b3433f9a49f597f61').innerHTML = ''; var prefix = 'ma' + 'il' + 'to'; var path = 'hr' + 'ef' + '='; var addy86fe942daba8724b3433f9a49f597f61 = 'info' + '@'; addy86fe942daba8724b3433f9a49f597f61 = addy86fe942daba8724b3433f9a49f597f61 + 'oxfordphil' + '.' + 'com'; var addy_text86fe942daba8724b3433f9a49f597f61 = 'info' + '@' + 'oxfordphil' + '.' + 'com';document.getElementById('cloak86fe942daba8724b3433f9a49f597f61').innerHTML += ''+addy_text86fe942daba8724b3433f9a49f597f61+''; Please use the form below to get in touch: Contact Form Full Name(*) Please type your full name. E-mail(*) Invalid email address. Message(*) Please enter a message Security(*) Invalid Input To help prevent automated form submissions, please type the characters above into the box. 29a Teignmouth RoadLondon NW2 4EBFax: 020 8208 4239  

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Piano Festival Application Forms

BY Super User    September 20, 2013

Observers Form Lied Class Form

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Oxford Philharmonic Orchestra
London office
29a Teignmouth Road,
London NW2 4EB

Box Office 01865 980 980

General Inquiries 01865 987 222
[email protected]