Benefactors

BY Larisa    October 4, 2018

Benefactors provide the support to ensure the OPO’s artistic vision is achieved while enjoying a close association with the Orchestra.  To discuss other Benefactor opportunities, please ring Kathy Seligman at 01865 987 222 or email This email address is being protected from spambots. You need JavaScript enabled to view it. document.getElementById('cloak4418389c351136b5bf2896b73828c499').innerHTML = ''; var prefix = 'ma' + 'il' + 'to'; var path = 'hr' + 'ef' + '='; var addy4418389c351136b5bf2896b73828c499 = 'kathy' + '@'; addy4418389c351136b5bf2896b73828c499 = addy4418389c351136b5bf2896b73828c499 + 'oxfordphil' + '.' + 'com'; var addy_text4418389c351136b5bf2896b73828c499 = 'kathy' + '@' + 'oxfordphil' + '.' + 'com';document.getElementById('cloak4418389c351136b5bf2896b73828c499').innerHTML += ''+addy_text4418389c351136b5bf2896b73828c499+''; Diamond BenefactorsA.G. Leventis Foundation, Geoffrey & Caroline de Jager, Zvi & Ofra Meitar Family Fund, Stavros Niarchos Foundation, Mr & Mrs Lief Rosenblatt, Sana Sabbagh Platinum BenefactorsThe H.K. Leventis Foundation, The Sackler Trust Gold BenefactorsAnthony & Eleanor Clake, Andrew & Celia Curran, Donald Fothergill, Grigory Gulsenikov & Yulia Guselnikova, Sir Robert Horton Charitable Trust Fund, Mrs Ingeborg Margulies, Michael & Susan Pragnell, Simon & Alison Ryde, The Thompson Family Charitable Trust, The Tolkien Trust Silver BenefactorsSir John & Lady Aird, H.E. Sulaiman Almazroui, Prof Paul Davies & Dr Saphié Ashtiany, Mr & Mrs David Cruickshank, Prof & Mrs Raymond Dwek CBE, Anita Higham OBE, Dr Adrian & Caroline Künzi, The Michael Marks Charitable Trust, Dr Michael Peagram, Erik Penser, Mr & Mrs Lennart Perlhagen, Mr & Mrs Bjarne Rieber, Andrey & Natalia Yakunin, Wicha Music Foundation BenefactorsFrancesca & Marco Assetto, Sir Winfried & Lady Bischoff, Raymond Blanc OBE, The JFR Charitable Trust, J & A Beare, Dr Timea Bor, The Calleva Foundation, Sir Ronald & Lady Cohen, Dr & Mrs Peter Collins, Michael & Heather Dalgleish, Peggotty Graham, Sir Anthony & Lady Kenny, John & Margaret Leighfield CBE, Anthony & Jenny Loehnis, The Loveday Charitable Trust, Oxford City Council, The Patsy Wood Trust, Alun Evans & Hilary Reid Evans, Nicole Rolet, Dame Theresa Sackler, James & Dr Shirley Sherwood, David & Elizabeth Ure, Dr Pål Voltersvik & Liv Astrid Høgvold, Bruno Wang, Pierre & Dr Yvonne Winkler, The Lord Leonard and Lady Estelle Wolfson Foundation PatronsJohn & Hilary Bach, Mr & Mrs Mark Barrett, Mary Beattie, Margarida Bento, Dr Penelope Brook, Peter & Sally Cadbury, Eric & Karen Caines, Katherine Carpenter, Prof Robin & Selina Cohen, Charles & Gisela Cooper, Mr & Mrs Omar Martin Cordes, Annie Cripps, Caroline Cronson, Tony & Revd Mary Cruddas, Prof & Mrs Robert Cumming, Neville & Christine Dalton, Prof. Dame Kay Davies & Chris Williams, Nadia Dimsdale, Colin Doak, Mr & Mrs Michael Dobbs-Higginson, Patricia Donnelly, Doris Field Charitable Trust, Julian Duxfield, Prof & Mrs Michael Earl, Mr & Mrs Alan Elliot, Laurent Faugerolas & Catherine Vaillant Faugerolas, David & Elizabeth French, Dr Richard & Dr Catharine Gilson, Professors Malcolm & Jennifer Green, Dr William Hayes & Dr Anne Grocock, Ron & Penny Gulliver, Baron Jean Louis & Baroness de Gunzburg, Jeff & Pauline Hewitt, Peter & Valerie Hill, Sir John & Lady Hood, Chris Hornby, Robert & Caroline Jackson, Mr & Mrs Glen James, Richard Jenkyns, Prof Martin Kemp, Bernadette Lavery, Michael & Dr Joyce Leech OBE, Kaye & David Lillycrop, Elizabeth Linder, Michael & Sarah Livingston, Susan & Patrick Mocatta, Joy Morning, Simon & Jennifer Murray, Mark & Jill Pellew, Derek & Muriel Pilkington, Sir Brian & Lady Pomeroy, The Queen’s College, Oxford, Lady Jane Rayne & Robert Lacey, Faanya Rose, Blake Samuels, Sander Schakelaar, David & Veronica Shirley, Judy & Andrew Silver, Richard Smethurst & Prof Susan Gillingham, Alan Smith, Gregory & Susan Spence, Lord & Lady Reginald Stewart, Robin & Debbie Swailes, Prof & Mrs Peter Tufano, Dr Jennie Turner, Jolana Vainio, Richard Viney, The Vitabiotics Foundation, Dr Trudy Watt, Sam & Suzanne Webber, Colin & Suzy Webster OBE, Charles Young Donors who prefer to remain anonymous

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Data Promise

BY Larisa    May 24, 2018

Oxford Philharmonic Orchestra Trust and Oxford Philharmonic Orchestra Productions Limited are committed to protecting your privacy and data. We will use the information that we collect about you in accordance with the General Data Protection Regulation 2018 and the Privacy and Electronic Communications Regulations 2003. Who We AreThe Oxford Philharmonic Orchestra Productions Ltd is a private company limited by shares registered in England and Wales with company registration number 3592323. Its 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. We aim to be clear when we collect your data and not do anything you would not reasonably expect. Developing a better understanding of our customers and supporters through their personal data allows us to make better decisions about events and programming, fundraise more efficiently and, ultimately, helps us to reach our goal of bringing entertainment and inspiration to Oxford and the Thames Valley by providing a diverse programme of the highest quality for all. This privacy policy sets out the ways in which we use your data and how you can hold us accountable for that.  What Information Do We Collect?You give us your information when you buy a ticket over the counter, by phone or online via our website; by signing up for one of our other events, masterclasses or workshops; by updating your preferences on our website; by making a donation; or by communicating with us. We also keep your details when you sign up to receive emails from us. The information we hold about you may include:  • Your name• Postal address• Telephone number• Email address• Ticketing history• Billing information• Donation history• Your preferences for how we communicate with you about our activities • Information that is available publicly  We maintain a record of your transaction history, but we never store your payment card number (although we may keep a note of the last four digits to help us identify transactions).  We keep a record of the emails we send you, and we may track whether you receive or open them so we can make sure we are sending you the most relevant information. We may then track any subsequent actions online, such as buying a ticket.  See our Cookie policy here for more details.  How Do We Use Your Data?If there is any important change to your booking we will contact you. This information, alongside your purchase and/or donation history, is used to select and inform you of other relevant events or activities we think may be of interest to you, as well as opportunities to support our work as an Arts Charity.  We use your data to:  • Provide you with the event tickets or respond to information you have asked for • Contact you if there are any important changes to your booking • Administer your ticket sale or donation, including processing gift aid • Keep a record of your relationship with us • Ensure we know how you prefer to be contacted • Occasionally undertake customer research to help us understand how we can improve our services or information • Tell you about changes in our services or new services, event offers, and opportunities to support us that we think you’ll find of interest • Analyse your personal information to create a profile of your interests and preferences so that we can contact you with information most relevant to you  If you do not want to receive information by post or email about events, offers, our fundraising activities or customer research, you have the option to change any of your contact preferences at any time by logging into your account online, or by contacting the Box Office team via the contact details at the end of this policy.  We may combine information you provide to us with information available from external sources in order to gain a better understanding of our audiences. We use profiling and segmentation to ensure communications are relevant and timely, and to provide an improved experience to our customers and supporters.  When building a profile we may analyse geographic, demographic and other information relating to you in order to better understand your interests and preferences in order to contact you with the most relevant communications.  Third PartiesWe will not share any of your personal details with any other third parties without your agreement, unless required in order to fulfil our contract with you, or allowed by law.  In general, the third-party providers used by us to fulfil our contract with you will only collect, use and disclose your information to the extent necessary to allow them to perform the services they provide to us. These providers include our Ticketing System provider, email distribution service and mailing house. We have agreements in place with each to ensure that your data is secure at all times, and cannot be accessed or used for any other purpose.  We may share personal information with other organisations, particularly The Audience Agency who use this to analyse ticket sales for national and regional research into patterns of Arts attendance in England (for instance, comparison sales trends over time and geographical comparisons). This assists with reporting to funders and strategic planning, helping us to make better business decisions. Your personal data is never sold on to any other agencies or companies.  Giving You ControlUnless you ask us not to, we will tell you about concerts, masterclasses, workshops, priority booking and opportunities to support us. Occasionally, we may include information in these communications from partner organisations or organisations who support us. You can opt out from these communications at any time - every email, post or SMS sent to you will tell you how to do this.  If you have opted out of marketing or fundraising communications, we may stillget in touch with you regarding your booking. For example we may email you to give you important information about the event you have booked with any changes that affect you.  How We Keep Your Data SafeYour personal data will be held and processed on Oxford Philharmonic Orchestra’s systems. Where possible we aim to keep a single record for each customer.  Your data is always held securely. Access to customer information is strictly controlled. It is held in the UK and the processes are EU compliant.  If required we may need to disclose your details to the police, regulatory bodies or legal advisors.  Sensitive InformationSometimes we ask you to provide sensitive information, for example when you book for certain workshops or when you apply for a job. As with all the personal information we hold, sensitive information is held securely and restricted to those who need to use it. We will delete information when we no longer need it.  Changes To This PolicyWe may change this Privacy Policy from time to time. If we make any significant changes in the way we treat your personal information we will make this clear on our website or by contacting you directly.  Your RightsYou have the following rights related to your personal data: • The right to request a copy of personal information held about you • The right to request that inaccuracies be corrected • The right to request us to stop processing your personal data • The right to lodge a complaint with the Information Commissioner's Office or Fundraising Regulator  Contact UsPlease contact us if you have any questions about Your Data Promise, or wish to be removed from any communications or data processing activities:  • Email us: This email address is being protected from spambots. You need JavaScript enabled to view it. document.getElementById('cloakc8930068e5b10e83bc2aa5b8d3871fc3').innerHTML = ''; var prefix = 'ma' + 'il' + 'to'; var path = 'hr' + 'ef' + '='; var addyc8930068e5b10e83bc2aa5b8d3871fc3 = 'info' + '@'; addyc8930068e5b10e83bc2aa5b8d3871fc3 = addyc8930068e5b10e83bc2aa5b8d3871fc3 + 'oxfordphil' + '.' + 'com'; var addy_textc8930068e5b10e83bc2aa5b8d3871fc3 = 'info' + '@' + 'oxfordphil' + '.' + 'com';document.getElementById('cloakc8930068e5b10e83bc2aa5b8d3871fc3').innerHTML += ''+addy_textc8930068e5b10e83bc2aa5b8d3871fc3+'';  • Or write to us at: The Box Office Team, Oxford Philharmonic Orchestra, 29A Teignmouth Road, London NW2 4EB. 

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Shop

BY Larisa    December 4, 2017

Gift Vouchers The perfect gift for a music-lover – make someone’s year that little bit more musical! Redeemable for any of our future concerts, with a wide range of repertoire and valid for one 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.                    Oxford Philharmonic and J & A Beare - partnering virtuosi with Stradivari

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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 Masterclass Timetable 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

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80 pounds per hour

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Participant Application Form

BY Larisa    January 25, 2016

Piano Festival Participant Form 2018

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We welcome applications from advanced piano students of all nationalities born on or after 28 July 1991.

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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.

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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.

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Vacancies

BY Larisa    November 18, 2015

Marketing Officer (based in London Office but with occasional travel to Oxford and other concert venues) The Oxford Philharmonic Orchestra, one of the UK’s leading orchestras and Orchestra in Residence at the University of Oxford, seeks a highly-motivated Marketing Officer, to play a key role in devising and implementing marketing campaigns to promote concerts and other events.  The role will be based in our North West London office.  Principal duties Devising marketing campaigns for Oxford concerts and tours Production coordination of season brochures and other publications Copywriting: concert descriptions, e-bulletins, social media content Proofing brochures, flyers, adverts, concert programmes and other print & online content Managing the OPO social media accounts and creating compelling content to attract new followers Creating website content, including image editing Website maintenance via its content management system Joomla Creating e-bulletins using MailChimp Co-ordinating PR opportunities with external PR agency Inputting concert listings online Promoting events through the Faculty of Music/Oxford University Music Society Database maintenance and audience segmentation Supporting the Ticketing Officer with Box Office duties such as ticket bookings&customer queries Coordinating & maintaining relationships with key partners such as Oxfordshire County Music Partnership This is a dynamic role which will continue to develop and other additional duties will reflect these changes Applicant profile: 1. Essential abilities/qualifications: Knowledge and passion for classical music, particularly orchestral music Strong copywriting and proofreading skills Excellent organisational skills and attention to detail Strong IT skills and ability to learn new software Ability to juggle multiple tasks Minimum 2 years marketing experience in the arts Strong communication skills Meticulous accuracy and attention to detail 2. Preferred abilities/qualifications: Experience updating and managing websites Experience of working with databases A degree in music Salary £23-26k dependent on experience. Please apply with brief covering letter and CV to This email address is being protected from spambots. You need JavaScript enabled to view it. document.getElementById('cloak45f77f07acd65bd52a38d366223149da').innerHTML = ''; var prefix = 'ma' + 'il' + 'to'; var path = 'hr' + 'ef' + '='; var addy45f77f07acd65bd52a38d366223149da = 'anthi' + '@'; addy45f77f07acd65bd52a38d366223149da = addy45f77f07acd65bd52a38d366223149da + 'oxfordphil' + '.' + 'com'; var addy_text45f77f07acd65bd52a38d366223149da = 'anthi' + '@' + 'oxfordphil' + '.' + 'com';document.getElementById('cloak45f77f07acd65bd52a38d366223149da').innerHTML += ''+addy_text45f77f07acd65bd52a38d366223149da+''; . If you do not receive a reply within a month of writing you should assume that your application has not been successful. Deadline for application submission: 5pm on Friday 30 November 2018. 

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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. The site is also using third party cookies to keep track of site performance (New Relic cookie) and site visits (Google Analytics cookies). These cookies do not store user information.

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Privacy Policy

BY Gillian Berry    September 29, 2015

The Oxford Philharmonic Orchestra is committed to ensuring that your personal data is protected. We use the information that we collect about you in accordance with the General Data Protection Regulation 2018 and the Privacy and Electronic Communications Regulations 2003.This privacy policy sets out how we use and protect any information that you share with us. Data controller The data controller of this website is the Oxford Philharmonic Orchestra whose office is situated at 29a Teignmouth Road, London NW2 4EB. What personal information do we gather?When you purchase tickets or request to receive information from us we record your name, address, contact number and email address on your personal customer record. If your details change please notify us that our records are kept as up to date as possible. We may request other information about you when you book workshops, or if you have specific seating requests to help us give you the best service when you book tickets, attend an event or request information. 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. What do we do with your information?The information we collect when you purchase tickets allows us to see that you are attending an event so that we can find your tickets, notify you of any changes to event dates or times, and see what types of events you are interested in. We also collect data when you sign up to our mailing list. If you have opted in to receive emails or mail then you will receive information from us such as newsletters, emails about forthcoming events or special offers. We will never share your information without your consent. 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 Oxford Philharmonic Orchestra. 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 website 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. Please send us any suggestions to This email address is being protected from spambots. You need JavaScript enabled to view it. document.getElementById('cloakccf6d049c2a2fb85c0c51b63489aaaf2').innerHTML = ''; var prefix = 'ma' + 'il' + 'to'; var path = 'hr' + 'ef' + '='; var addyccf6d049c2a2fb85c0c51b63489aaaf2 = 'info' + '@'; addyccf6d049c2a2fb85c0c51b63489aaaf2 = addyccf6d049c2a2fb85c0c51b63489aaaf2 + 'oxfordphil' + '.' + 'com'; var addy_textccf6d049c2a2fb85c0c51b63489aaaf2 = 'info' + '@' + 'oxfordphil' + '.' + 'com';document.getElementById('cloakccf6d049c2a2fb85c0c51b63489aaaf2').innerHTML += ''+addy_textccf6d049c2a2fb85c0c51b63489aaaf2+'';

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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 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 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 SaleTickets 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. ExchangesTickets 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. RefundsWe 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. CopyrightThe University of Oxford logo is the registered trade mark 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 is run by the Oxford Philharmonic Orchestra Trust. Neither the Oxford Philharmonic Orchestra nor the Oxford Philharmonic Orchestra Trust are 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('cloak9dfe222c602647607e8afcc74330958e').innerHTML = ''; var prefix = 'ma' + 'il' + 'to'; var path = 'hr' + 'ef' + '='; var addy9dfe222c602647607e8afcc74330958e = 'info' + '@'; addy9dfe222c602647607e8afcc74330958e = addy9dfe222c602647607e8afcc74330958e + 'oxfordphil' + '.' + 'com'; var addy_text9dfe222c602647607e8afcc74330958e = 'info' + '@' + 'oxfordphil' + '.' + 'com';document.getElementById('cloak9dfe222c602647607e8afcc74330958e').innerHTML += ''+addy_text9dfe222c602647607e8afcc74330958e+''; Oxford Philharmonic Orchestra29a Teignmouth RoadLondon NW2 4EB  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.    

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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]