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 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.

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)

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!

Cambridge Concert Orchestra – a concert to celebrate Living Composers. To raise funds for Richard’s Music Therapy. Conductor: Suzanne Dexter-Mills. To include: - Danzón No. 2 – Arturo Márquez, - The Lakes of Cold Fen – Nigel Hess, - Raiders March – John Williams, - Scott of the Antarctic – Pam Wedgwood (narrated by Jonathan Shanklin), - and more! Please do not contact venue for tickets.

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)

The Italian classical guitarist Federico Quercia performs famous Italian Opera Arias by Giuseppe Verdi, Gioachino Rossini and Pietro Mascagni. He is delighted to include La Traviata, The Sevilla Barber, The Sicilian Vespers, Cinderella. A rare opportunity to hear these masterworks played on the classical guitar, one of the most expressive instrument in the world. The concert is introduced by the beautifully romantic Intermezzo from Cavalleria Rusticana, in the mandolin – style tremolo. Mauro Giuliani (27 July 1781 – 8 May 1829) was an Italian guitarist, cellist, singer, and composer. He was a leading guitar virtuoso of the early 19th century. Mauro Giuliani’s Rossiniane are "operatic fantasies or potpourris" for the guitar based on themes by Rossini. Giuliani composed the six sets c. 1820–1828 (Opus 119–124). Each set was called "Rossiniana", and collectively they are called "Rossiniane". This was the first known tribute by one composer to another using a title with the ending -ana. Johann Kaspar Mertz (17 August 1806 – 14 October 1856) was born in Pressburg, now Bratislava (Slovakia), then the capital of the Kingdom of Hungary and part of the Austrian Empire. He wrote no fewer than 38 'opera revues,' as he called them, that is, fantasies in which famous themes from popular operas were intertwined and connected through brilliant passages. When you listen to a performance of Mertz’s themes from Verdi today, you aren't just hearing "guitar music," but a dialogue between Italian theatrical passion and Central European instrumental technique. It is a perfectly executed attempt to enclose the entire stage of La Scala within the soundbox of a guitar. Programme Pietro Mascagni – Intermezzo from Cavalleria Rusticana Giuseppe Verdi - (J.K Mertz) THE SICILIAN VESPERS “Maestoso Ombra diletta, che in ciel riposi” - Tarantella - “Coraggio, su coraggio” - “Del piacer s'avanza l'ora!” - “Parola fatale!” - “Giorno di pianto, di fier dolore!” – Brillante con moto. Gioachino Rossini – (J.K. Mertz) THE BARBER OF SEVILLE “Piano, pianissimo, senza parlar” – Ecco, ridente in cielo” – Andante – Allegro – “Dunque io son” – “Una voce poco fa” – Con moto. Giuseppe Verdi - (J.K. Mertz) LA TRAVIATA Preludio - “Libiamo ne’ lieti calici”- “Che è ciò?” - “Di Provenza il mar” - “E’ Piquillo un bel gagliardo”- “Addio del passato” - Con moto brillante. Mauro Giuliani Rossiniana III, Op. 121 Introduction (Maestoso sostenuto) “Un soave non so che” LA CENERENTOLA (Cinderella) “Oh mattutini albori!”, Andantino LA DONNA DEL LAGO (The Lady of the Lake) “Questo vecchio maledetto” IL TURCO IN ITALIA (The Turk in Italy) “Sorte! Secondami”, Allegro ZELMIRA “Cinto di nuovi allori”, Maestoso RICCIARDO E ZORAIDE

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 East Anglia Chamber Orchestra returns to the West Road Concert Hall with an attractive and ambitious programme directed by the gifted and inspiring Toby Purser. The concert will open with Rossini’s romantic and exciting William Tell Overture, describing life in the Swiss Alps. We are then joined by TWO internationally acclaimed soloists : Michael Foyle and Thomas Carroll performing the monumental and bittersweet Double Concerto for violin and ‘cello by Brahms. Written after his last symphony, the concerto is an elderly composer’s gift of reconciliation to a friend being performed by friends. In a more light-hearted vain, the concert resumes with the colourful and lively Four Scottish Dances by Malcolm Arnold, written for the BBC Light Music Festival in 1957. It was the warmth and richness of Italy that inspired the young Mendelssohn to compose his A major Fourth Symphony, which he described as the “jolliest piece I have ever done”. Passion, romance, friendship, dancing, and a tour of European culture with talented companions – what a divine combination! So, join us for a wonderful evening of marvellous music-making