Some of the most varied and dazzling piano works of the twentieth century - a rare opportunity to hear Prokofiev's sonata masterpieces in sequence. Prokofiev's fifth sonata was the only sonata completed after the fourth in 1917 and before the War Sonatas, nos 6-8, were begun in 1939. Although the composer was pleased with the work, audiences initially were less so, since its refinement, neo-classical poise and modernistic features were less attractive to the public than the brilliant energy of the second, third and fourth sonatas with which the composer tended to couple the fifth in recitals. Prokofiev revised the sonata in 1952, largely to clarify its textures and shape, and felt particularly satisfied with the result. It is in this version that the sonata is performed in this recital. The elegance and beauty of this work is striking. Fauré's thirteenth Barcarolle and thirteenth Nocturne complete the first half of this recital; brilliant, poetic and complex masterpieces that pre-date Prokofiev's fifth sonata by a couple of years. Fauré's description to his wife of the Barcarolle as 'un petit morceau de piano', is surely delicate self-mockery. Martinu's Sonata no 1 from 1953 is hidden treasure of the twentieth century. Its visionary power stands almost alone and when played with Prokofiev's 6th sonata, as tonight's performer has frequently done, it is in no way overshadowed by the latter. Three movements, intricately connected by recurrent ambiguous motivic figures, fragmentary melodies, .grow progressively towards a shimmering climax in the second movement, appear to expire and are resurgent in the finale Programme: Prokofiev, Sonata no 5; Fauré, Nocturne 13 & Barcarolle 13; Martinu, Sonata no 1

Some of the most varied and dazzling piano works of the twentieth century - a rare opportunity to hear Prokofiev's sonata masterpieces in sequence. Prokofiev's brilliant third sonata, composed in 1917, premiered by the composer a year later, originated as a student composition which was radically revised to achieve the driving energy & unity of its published form. Boris Berman notes this work's effective romantic climax, pianistic writing and detailed motivic development, are achieved without the sarcastic or ironic tone of so many early works of Prokofiev - including the second sonata - indeed such expressive means are simply not part of the sonata's vocabulary. An equally brilliant and expressive single movement work, Schubert's Wanderer Fantasy opens this concert, a soulful, surging journey at the heart of the romantic movement. The multi-layered poise of Fauré's late piano compositions and the poetry of two Rachmaninov preludes set Prokofiev's third sonata in a contemporary context - and demonstrate its originality. Programme: Prokofiev, Sonata no 3; Schubert, Wanderer Fantasy; Fauré, Nocturne 11; Barcarolle 10 & 11; Rachmaninov, Preludes op 23/7 & 10

Some of the most varied and dazzling piano works of the twentieth century - a rare opportunity to hear Prokofiev's sonata masterpieces in sequence. Prokofiev's powerful fourth sonata dates from the same year, 1917, as the third sonata, but is a dramatic three movement narrative in contrast to the latter's single movement. The last of the composer's sonatas written before leaving Russia, it draws like the third sonata from his student sketches. The sonata integrates Russian fairy-tale elements, neo- Baroque gestures and neo-classical wit, partly echoing the 'Classical Symphony' also of 1917, and at the same time drawing on the mysterious style of Medtner 'Fairy-tale sonata'. The result is a grippingly expressive narrative culminating in one of Prokofiev's most dazzling finales. The concert is introduced by the beautifully romantic 'Twelve Sketches' of Prokofiev's teacher, Reinhold Glière, who outlived his famous pupil and had a distinguished career as a Professor of Composition at the Moscow Conservatoire. Two arresting and intricate late works by Gabriel Fauré set Prokofiev's fourth sonata in a contemporary context.

Repertoire: Ethel Smyth: Overture to The Wreckers Richard Strauss:Burleske Piano soloist:Benjamin Grosvenor Dmitri Shostakovich: Symphony No 5 Performed by: Cambridge Philharmonic Orchestra Conductor Otis Enokido-Lineham Benjamin Grosvenor - Piano A concert of bold voices and fearless invention. We open with the stormy, impassioned overture to The Wreckers, Ethel Smyths opera set on the rugged Cornish coast. With sweeping melodies and dark intensity, this powerful curtain-raiser announces Smyth as one of the great unsung heroines of British music. Next, superstar pianist Benjamin Grosvenor takes the spotlight in Richard Strausss Burleske a dazzling, high-octane work that brims with sardonic wit and virtuosic brilliance. Part concerto, part musical prank, Burleske dances on a knife-edge between mischief and majesty. Shostakovichs gripping Symphony No 5 veiled protest or triumphant apologia delivers emotional power and biting irony in one of the 20th centurys most compelling orchestral works.

Stravinsky Symphonies of Wind Instruments Doreen Carwithen Piano Concerto Rachmaninov Symphonic Dances City of Cambridge Symphony Orchestra Conductor: Robert Hodge Soloist: Juanjo Blzquez Supported Charity: Camsight NEW - reserved seating plan The Symphonies in Stravinskys work of 1920 refer to instrument groups playing together in various combinations, rather than anything symphonic in structure. Scored for the wind and brass sections of a symphony orchestra, the work comprises a series of boldly contrasting sections, each with a characteristic motif, timbre, tempo or rhythm, leading to a chorale dedicated to the memory of Debussy. Ever uncompromising, Stravinsky stated that the work was not meant to please an audience or rouse its passions. Doreen Carwithen (b 1922) was an accomplished pianist and also studied composition with William Alwyn, whom she later married. In 1946 she was the first recipient of a J Arthur Rank film scholarship, enabling her to establish a career as a full-time composer. Her concerto for piano and strings (1948) contains vigorous and brilliant piano writing over a sensitive string accompaniment. We are delighted to welcome back pianist Juanjo Blzquez as our soloist for this concert. Originally intended as ballet music, Rachmaninovs Symphonic Dances are definitely more symphony than dance. With only fleeting nods to evolving compositional trends, this ever popular work, Rachmaninovs last, is richly scored and full of his characteristic lush harmonies and irresistible melodies.

Louise FarrencOverture No. 2 Samuel Barber Violin Concerto Tchaikovsky Symphony No. 6 City of Cambridge Symphony Orchestra Conductor: Robert Hodge Soloist: Mabelle Park Supported Charity: TBC NEW - reserved seating plan Born in Paris into an artistic family, Louise Farrenc was precociously musically talented, both as a pianist and a composer. Married at 17, she toured Europe as accompanist to her flautist husband, but they ultimately returned to Paris, where Louise established a career as a pianist and professor of piano at the Paris Conservatoire. Her Overture no. 2 in Eb (1834) is a lively and tuneful work in the operatic style of the time. We welcome award-winning violinist Mabelle Park to perform Samuel Barbers Violin Concerto (1939), surely one of the most captivating of 20th century violin concertos. The path to the concertos premiere was beset by delays, difficulties, and temperamental soloists; Barber had only finished two movements by the original deadline. These are beautifully lyrical and romantic, without sounding old-fashioned, but the intended soloist thought that the violin part wasnt sensational enough. Barbers response was to write a four minute finale of dazzling difficulty. The title of Tchaikovskys Symphony no.6, the Pathtique, should be interpreted as meaning passionate or heartfelt, rather than pathetic. Completed in 1893, it was premiered in St Petersburg that October; Tchaikovsky died nine days later. He knew that it was a winner, having written to his brother I believe it comes into being as the best of my works. Not a bad note to end on.

Programme to include: Poulenc Mélancolie, FP 105 (1940) Debussy Estampes, L. 100 (1903) Debussy L’isle joyeuse, L. 106 (1904) INTERVAL Schumann Fantasie in C, Op. 17 (1836)

Beethoven Quartet in G, Op. 18 No. 2 Beethoven Quartet in F, Op. 135 INTERVAL Beethoven Quartet in C-sharp minor, Op. 131

Join the Down for the Count Swing Orchestra for a celebration of one of the most iconic figures in swing music history: the incomparable Nat King Cole. Enjoy timeless classics such as Mona Lisa, Let’s Face the Music and Dance and L-O-V-E lovingly brought back to life by the instrumentalists and vocalists of this sensational 30-piece orchestra – one of the few UK jazz ensembles to feature a string section. This is not a tribute show, but rather a vibrant celebration of Nat King Cole’s life and music; a journey through the great man’s repertoire, from the intimate trio recordings he made early in his career to the later luscious orchestral work with arrangers such as Nelson Riddle and Gordon Jenkins. Compèred by musical director and conductor Mike Paul-Smith, the performance blends anecdotes from Nat King Cole’s life with recreations of some of his greatest recordings, as well as original arrangements of other classics penned by members of the orchestra. The Down for the Count Swing Orchestra is one of the UK’s leading swing ensembles with performance credits including Ronnie Scott’s Jazz Club, the London Jazz Festival, Glasgow Royal Concert Hall and Twinwood Festival. Join them for this one-of-a-kind celebration of a true musical legend in 2026. Programme Includes:
Mona Lisa, When I Fall In Love, Straighten Up and Fly Right, Let’s Face the Music and Dance, L-O-V-E, and many more! Performers: Down for the Count Orchestra, Mike Paul-Smith, conductor, Marvin Muoneké, vocals, and further guest vocalists to be announced.

North Sea Voices and Orchestra, with Ely Collegium, are premièring a stunning new choral work by Susannah Self at the West Road Concert Hall. Fast emerging as one of the U.K.’s finest choral composers, Susannah conducts two superlative choirs, accompanied by the strings of the North Sea Orchestra. In the second half, her ‘Harbour’, with solo violin played by Kayla Nicol, offers a soulful contemplation of a safe haven, while Handel’s youthful brilliance is shown off in his ‘Dixit Dominus’, a product of his early years in Italy. Now in its fourth year of performing in the Cambridgeshire area, Norfolk-based North Sea Orchestra was founded in 2023 by Dr. Susannah Self. Comprising some of the finest professional players in East Anglia, it has premièred Dr. Self’s Sea Requiem, Stabat Mater and Magnificat to excellent review. “… the cumulative effect of the score as a wonderfully cohesive whole made a lasting impression … an evening of exceptional music-making” – Paul Conway, Musical Opinion 2024 “Soloists, choir and orchestra ably conveyed the material’s freshness and warmth, while Susannah Self conducted with passion and clarity.” – Paul Conway, Musical Opinion 2025 North Sea Voices has become a choir of substance and excellence under Dr. Self’s guidance, and together with Ely Collegium, an elite auditioned chamber choir, they have performed in Norfolk and Ely to great acclaim.

Oh What a Night! takes you back in time on a musical journey through the incredible career of Frankie Valli & The Four Seasons. Valli’s unmistakable voice dominated the airwaves for more than two decades with classics such as Sherry, Let’s Hang On, Big Girls Don’t Cry, Can’t Take My Eyes Off You, My Eyes Adored You, December 63 (Oh What A Night), Bye Bye Baby, Who Loves You and many, many more. Selling over 100 million records worldwide, Frankie Valli & The Four Seasons secured their place in the Rock & Roll Hall of Fame in 1990. Oh What a Night! combines infectious personalities, amazing vocals, slick harmonies and even slicker dance moves to deliver a show full of energy and nostalgia which always leaves audiences wanting more. Don’t miss the ultimate celebration of one of the world’s greatest Rock & Roll bands!

Join Cambridge's premier Wind Orchestra for an evening of evocative music from Classical Wind Orchestra music to Film Music! Repertoire to include: Modest Mussorgsky - Pictures At An Exhibition John Williams - Harry Potter Suite John Williams - Jurassic Park (arr. Smith) Stephen Schwartz - Wicked (arr. Bocook) John Williams - Indiana Jones and the Temple of Doom Danny Elfman - Music at the Darkened Theatre

Helen Charlston mezzo-soprano Natalie Haynes stand-up classicist Britten Sinfonia BrittenPhaedra CharpentierQuel prix de mon amour John Woolrich Ulysses Awakes StravinskyApollon musagte HaydnCantata: Arianna a Naxos Love, loss, deception and revenge join us for an atmospheric evening of pieces based on ancient Greek myths, interspersed with brilliant comedic commentary from the witty classicist Natalie Haynes, best known for her BBC Radio 4 series Stand up for the Classics . This performance marks 50 years since the death of composer Benjamin Britten, with sublime mezzo-soprano Helen Charlston the soloist in his late micro-opera Phaedra . The contrasts between Phaedra's disgust at her own obsession with her stepson and the heartfelt expressions of her love for him are darkly and brilliantly conveyed in this condensed masterpiece. Hell hath no fury" is also the mood in Charpentier's opera about Medea and Haydn's depiction of Ariadne's abandonment by Theseus, while male protagonists fare better in Stravinsky's ballet music and Woolrich's shimmering re-write of a Monteverdi aria. The stories may be tragic, but in the company of Natalie Haynes there will be tears of laughter too, with the doomed woman stereotype providing plenty of provocative material.

The Sampson Orchestra of Cambridge, conducted by Darrell Davison, performs eight exciting and colourful works by 20th-century composers in Latin American and Jazz styles. These pieces include Piazzolla's "Libertango", Márquez's "Danzón No. 2", and Gershwin's "Cuban Overture" (1932) and "Rhapsody in Blue" (1924), the latter featuring esteemed solo pianist John Paul Ekins. The local charity which will benefit from this concert is the Foundation for Young People's Mental Health.

Cambridge Concert Orchestra [https://cco.org.uk/] Conductor: Suzanne Dexter-Mills A concert to celebrate Living Composers and to raise funds for Richard's Music Therapy [https://www.richardsmusictherapyfund.co.uk/] To include: Danzn No. 2 Arturo Mrquez The Lakes of Cold Fen Nigel Hess Raiders March John Williams Scott of the Antarctic Pam Wedgwood (narrated by Jonathan Shanklin) and more! West Road Concert Hall [https://www.westroad.org/] 11 West Road Cambridge CB3 9DP Tickets: 15 for adults, 5 for those in full-time education Allocated seating Online ticket sales will stop at 6.30pm on the day of the concert Even if this site states that we have sold out, there might still be tickets available on the door CCO profile [https://www.ticketsource.co.uk/cambridge-concert-orchestra] We are also on Facebook [https://www.facebook.com/cambridgeconcertorchestra] and Instagram [https://www.instagram.com/cambridgeconcertorchestra]

SATURDAY 29 AUGUST at 7.30pm West Road Concert Hall, Cambridge Combined Orchestras of Junges Sinfonieorchester Aachen and Cambridge Sinfonietta with Womens Chorus Suk Scherzo Fantastique Bert Grund Divertimento for solo horn and orchestra Holst The Planets Horn Johannes-Theodor Wiemes Conductors Peter Sauerwein and Peter Britton 18, 15 (concessions), 12 (students), 8 (children under 16)