Let’s Play The Piano has been bringing music lovers together since 2015, now running monthly sessions in nine UK cities. These events are a fantastic opportunity to connect with others who share a love of music, whether you’re a pianist or simply enjoy listening. All are welcome, from beginners to more experienced pianists. Playing is completely optional, and many people attend just to enjoy the atmosphere and great music. We perform on some of the finest grand pianos available in many wonderful venues. It's a great event if you're considering learning the piano and want to find out more! Our friendly, welcoming group is open to all ages and backgrounds – it's a fun, informal way to get involved in music and meet new people. If you’d like to perform, just let the organiser know on the day or get in touch in advance to reserve a slot.

Georgie Carroll is back with her brand-new show, Infectious. An undeniable live comedy powerhouse and a natural storyteller, she’s razor sharp and riotous. Nurse turned comedian, Georgie Carroll is not only brilliantly funny, she is unstoppable on the comedy circuit having performed her smash hit award winning show Sista Flo 2.0 for three solid years of sold out seasons. Don’t miss her brand-new show!

Jeneba Kanneh-Mason piano Britten Sinfonia Programme: Elena Kats-Chernin Fast Blue Village 5 MozartPiano Concerto No. 23 K.488 Robin Haigh Grin SchubertSymphony No. 5 Fast-rising young star Jeneba Kanneh-Mason, praised for her playing's maturity and subtlety, is the soloist in Mozarts exquisite and lyrical piano concerto. Britten Sinfonia also perform Schuberts most Mozart-like symphony, filled with grace and invention, Elena Kats-Chernins high-tempo opener, and Robin Haighs superb Grin , commissioned by Britten Sinfonia and winner of an Ivor Novello Award, which brilliantly conveys brutality through frivolity, its light and cheerful music with echoes of Richard Strauss run through a dark millennial haze. On-sale dates: Britten Sinfonia Members' Priority Booking [https://www.brittensinfonia.com/support-us/members] opens on Monday 9 June at 10am, Britten Sinfonia E-list Subscribers' Priority Booking [https://www.brittensinfonia.com/who-we-are/sign-up-to-our-mailing-list] opens on Wednesday 11 June at 6pm, andGeneral Booking opens on Thursday 12 June at 10am. Find out Refund Policy: You will be offered Ticket Booking Insurance by a third party during the Ticketsource booking process. Please note that Britten Sinfonia does not offer refunds or exchanges.

This ‘Portrait’ of Graham Fitkin, has selections of his recent Chamber music for piano and strings, and his music for voice and piano, contrasted with, Chamber music for piano and strings, and Art Song, by iconic British Composers, Dame Judith Weir, Thea Musgrave CBE, and Sir Edward Elgar. From the professional performing world, violinist Rose Hinton, violist Henrietta Hill, and cellist Andrew Power, will play alongside advanced teenage piano students from CSYM, while soprano Hannah Diennes-Williams (formerly of Clare College), will collaborate with CSYM alumna, and professional pianist, Sarah Chung. A unique occasion, celebrating a rich and varied repertoire!

Schubert Symphony no 2 Bruch Violin Concerto no 1 in G minor Beethoven Symphony no 6 'Pastoral' conductor Toby Purser Soloist Michael Foyle The East Anglia Chamber Orchestra returns to the West Road Concert Hall with an attractive and ambitious programme that features two symphonies and a fabulous concerto. Under the baton of the gifted and inspiring Toby Purser the programme begins with Schubert’s delightful Second Symphony. Inspired by Beethoven, Schubert began this tuneful symphony in 1814, just after leaving school. We are then joined by the wonderful Michael Foyle, professor of violin at the Royal Academy. Famed for the elegance and conviction of his playing, Michael will perform Bruch’s Violin Concerto in G minor. Considered to be one of the four great German violin concertos, Bruch’s first concerto was premiered by Joachim in 1868. Our programme concludes with Beethoven’s well-known and well-loved Sixth Symphony. As the only symphony for which Beethoven provided a programme note, the Pastoral expresses his love for the natural world. With superb Schubert, passionate and energising Bruch, and a walk through the countryside with Beethoven the concert is sure to appeal to all. So, join us for a wonderful evening of marvellous music-making!

Some of the most varied and dazzling piano works of the twentieth century - a rare opportunity to hear Prokofiev's sonata masterpieces in sequence. His gripping first sonata composed when the composer was only fifteen, is an impassioned outpouring in the late romantic Russian tradition and is coupled with the arresting brilliance of three Rachmaninov preludes and the multi-layered poetry of Fauré. Grieg's ravishing Holberg Suite never fails to charm audiences Programme: Prokofiev, Sonata no 1; Fauré, Nocturnes 7 & 9; Rachmaninov, Preludes op 32/ 2 & 5; op 23/4; Grieg, Holberg Suite

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 second sonata is an endlessly shifting kaleidoscope of romanticism, parody, brutality and tender lyricism, possibly one of his finest sonatas. The sonata is coupled with the with the witty charm of his fellow Russian Dimitry Kabalevsky's children's pieces and first sonatina. The subtle poetry of Fauré's 10th Nocturne and 9th Barcarolle, both works composed only a few years before the Prokofiev, demonstrate the originality of the latter. Programme: Prokofiev, Sonata no 2; Kabalevsky, 15 Children's Pieces; Sonatina no ; Fauré, Nocturne no 10; Barcarolle no 9;

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.

Mystery Ensemble returns to perform the enchanting melodies of Vivaldi’s Four Seasons. Antonio Vivaldi’s timeless compositions continue to captivate audiences worldwide, and the iconic Four Seasons is a masterpiece that beautifully illustrates the changing seasons through vivid musical imagery. Composed in 1723, The Four Seasons is one of Vivaldi’s most famous works and a prime example of programme music. Each concerto is associated with a sonnet, possibly written by Vivaldi himself, describing the scenes depicted in the music. Vivaldi ingeniously used musical techniques to mimic natural sounds, such as birds singing in spring and dogs barking in summer. The concertos were revolutionary for their time, showcasing Vivaldi’s innovative use of harmony and instrumental techniques.