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Cambridge Philharmonic 2013-14 Season Programme
Saturday 9th November 2013 BACH: Toccata in F Major BWV 540
FAURÉ: Cantique de Jean Racine BACH: Chaconne BWV 1004 FAURÉ: Requiem Soloists: Steve Bingham (Violin), Alex Berry (Organ), Emily Vine (Soprano), Sam Queen (Baritone)
Sunday 15th December 2013 BRITTEN: Peter Grimes Soloists: Daniel Norman (Peter Grimes), Elisabeth Meister (Ellen Orford), Mark Holland (Captain Balstrode), Yvonne Howard (Auntie), Kristy Swift (First Niece), Christina Haldane (Second Niece), Jeffrey Stewart (Bob Boles), John Molloy (Swallow), Jean Rigby (Mrs Sedley), Ted Schmitz (Rev. Horace Adams), Oliver Dunn (Ned Keene), Simon Wilding (Hobson)
Saturday 11th January 2014 Family Concert ASH: Music from The Golden Ticket MINCHIN: Music from Matilda PATTERSON: Little Red Riding Hood Presenter: Chris Jarvis
Saturday 15th March 2014 MAHLER: Symphony No. 3 Soloist: Sarah Castle (Mezzo Soprano)
Saturday 3rd May 2014 HAYDN: Die Schöpfung (The Creation) Soloists: Céline Forrest (Soprano), Nicholas Scott (Tenor), Bozidar Smiljanic (Bass baritone)
Saturday 5th July 2014 Ely Cathedral BERLIOZ: Grande Messe des Morts
Soloist: Bonaventura Bottone (Tenor) With the Cambridge and Norwich Philharmonic Choruses
For further information and online ticket sales, visit
www.cam-phil.org.uk
To leave feedback about our concerts and events, please email: [email protected]
To receive news of forthcoming concerts, send a blank email to:
Shostakovich 5
Britten Four Sea Interludes from Peter Grimes Prokofiev Violin Concerto No. 2 Shostakovich Symphony No. 5 Conductor Timothy Redmond Violin Matthew Trusler Cambridge Philharmonic Orchestra
Sunday 20 October 2013 at 7.30pm West Road Concert Hall, Cambridge
Cambridge Philharmonic Society Registered Charity 243290
Cambridge Philharmonic Supporters Scheme (CPSS) The Cambridge Philharmonic is a charitable organisation and has to be fully self-supporting. Our main sources of revenue are ticket sales, membership fees and the generosity of Cambridge Philharmonic Supporters, which include businesses, trusts and individuals who share our vision, and whose support we gratefully acknowledge. The Cambridge Philharmonic Supporters Scheme (CPSS) is open to all and is intended to give music lovers an opportunity to become more closely involved with the Cambridge Philharmonic and its objectives. We cater for various levels of support and in return offer a range of benefits. These include an advance copy of our season brochure allowing preferential booking, acknowledgement on the Cambridge Philharmonic website and in newsletters, invitations to open rehearsals and the opportunity to sponsor a concert. For information on becoming a Cambridge Philharmonic Supporter please write to: [email protected] For information about concert sponsorship write to: [email protected]
For their continuing support we would especially like to thank:
Patrons
Principal Benefactors
John Short and Debbie Lowther
The Pye Foundation
Benefactors David and Jackie Ball
Gillian and Edward Coe Rob and Janet Hook
Donors
Gerard and Margaret Chadwick Andy Swarbrick
Friends
Rowena Allen Richard and Ann King
Emma Mason Bill Parker
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Programme
Britten Four Sea Interludes from Peter Grimes Prokofiev Violin Concerto No. 2
20 minute interval
Shostakovich Symphony No. 5
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Ladies and Gentlemen, Welcome to the opening concert of our 2013/14 season. We begin the year with three twentieth century masterworks, all written within a decade of each other. Britten’s Four Sea Interludes offer the perfect introduction to his opera Peter Grimes which we are very excited to be performing in December. Prokofiev’s Second Violin Concerto, a soulful as well as virtuosic showpiece, is an ideal work for the exceptional violinist Matthew Trusler, who we are delighted to be welcoming back to the Cambridge Phil once more. And Shostakovich’s Fifth Symphony, one of the best-loved works in the symphonic repertoire, takes us from sublime moments of delicate chamber music to shattering cries of full-voiced orchestral brilliance. We hope you enjoy tonight’s performance and look forward to welcoming you back to many concerts this season.
Timothy Redmond
Principal Conductor Cambridge Philharmonic
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Four Sea Interludes Op.33a Benjamin Britten from Peter Grimes (1913-1976)
Turn to the watery world! – but who to thee (A wonder yet unview’d) shall paint – the sea?
Various and vast, sublime in all its forms, When lull’d by zephyrs, or when roused by storms,
Its colours changing, when from clouds and sun Shades after shades upon the surface run…
(George Crabbe, The Borough) The first performance of Britten’s opera Peter Grimes at Sadlers Wells in June 1945 marked a rebirth of British opera. The composer’s attention had been drawn, while in America, by E.M. Forster’s 1941 Listener article on Crabbe to the poet’s tale of the sociopathic fisherman in The Borough, a narrative poem describing Aldeburgh which reawakened Britten’s homesickness for the Suffolk coast. Grimes in the opera is a far more complex and rather more sympathetic character than Crabbe’s sadistic thug. His fate is equally determined by two forces: exclusion from the small-minded, inward-looking community of the Borough, and the sea. It is the latter which provides his living as a fisherman and suggests his self-deluding fantasies of a bumper catch which would allow him to buy the community’s respect. Equally, it is its fickleness which drives him off course and causes the first apprentice’s death from sickness and thirst, while later battering away the cliffside which leads to the second boy’s fatal fall. Finally it claims his boat and his life. The opera gains considerable momentum and continuity from the linking of scenes by orchestral passages. This has the practical effect of covering scene changes but also provides evocative images of the dominating environment beyond the capability of stage representation, and psychological insight into Grimes’s turmoil. Britten extracted the four interludes which directly relate to the sea as an independent suite which he conducted at the Cheltenham Festival only a week after the opera’s premiere. It is a wholly effective concert work, more than worthy of comparison with such orchestral seascapes as Debussy’s La mer or Britten’s teacher Frank Bridge’s The sea (also in four movements which depict rather similar facets of the sea’s character). It necessarily sacrifices, however, the significant penetration of the music of the interludes into the opera’s wider structure (to appreciate this you will need to attend the Phil’s performance of the whole work in December). For example, the lull in the storm episode consists of music just used to accompany Grimes’s words “What harbour shelters peace? Away from tidal waves, away from storm”, repeated at the end of the opera before his suicide. So there coexists a revelation of a character’s inner yearning with an onomatopoeic depiction, perhaps of slackening rain or of waves receding through shingle.
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The interludes comprise Dawn, the link between the prologue and the first act, atmospheric and expectant; Sunday morning, the introduction to Act 2, with the sun on the water and church bells represented in a way which recalls Britten’s interest in the Balinese gamelan; Moonlight, the link to Act 3, an interval of ominous stasis, interrupted in the opera by a dance in the Moot Hall and in the suite by Storm, taken out of its chronological place between scenes in Act 1 to provide a turbulent finale.
Stephen Hills Violin Concerto No. 2 Sergei Prokofiev In G minor, Op. 63 (1891-1953) Allegro moderato - Andante assai - Allegro ben marcato Born into an affluent and cultured household in pre-Revolutionary Russia, Prokofiev rose to fame as a precocious composer and performer and was admitted to the St Petersburg Conservatory at the age of 13 where he spent the next 10 years. When he finally graduated, he was determined to win the coveted Rubinstein Prize and instead of offering the usual classical piano concerto he performed his own 1st Piano Concerto, having worked out that “my [piece] might impress the examiners by the novelty of the technique; they simply would not be able to judge whether I was playing it well or not!”. Immediately after graduation, he left to tour Europe, coming into contact with Russian expatriates such as Stravinsky and Diaghilev, for whom he wrote several ballets. After 1918 he lived abroad, first in the USA and later mainly in Paris, where he renewed his association with Stravinsky and Diaghilev, and several key compositions from this period have a tortured, Expressionistic character. However, in the early 1930s he started to make more frequent trips back to the Soviet Union and in spring 1936 became a permanent residence in Moscow. Prokofiev spent the last 17 years of his life working under the increasingly political constraints of the Union of Soviet Composers and the recommended general guidelines for composers from the Party Central Committee. He died of a brain haemorrhage on the same day as Stalin; an irony that would not have escaped him. The Violin Concerto No.2, written during 1934-5, was a commission for the Franco-Belgian violinist Robert Soetens, who had premiered Ravel’s Tzigane (in the version for violin and piano). Prokofiev and Soetens were on a concert tour together during its composition. Prokofiev commented on the number of places he visited while working on the concerto: “the main theme of the 1st movement was written in Paris, the first theme of the 2nd movement at Voronezh, the orchestration was finished in Baku and the premiere was given in Madrid”. The first British performance of the concerto was given
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by Robert Soetens, under the baton of Henry Wood in 1936 and he performed it again, conducted by Prokofiev, in 1938. The opening movement is traditional in design in almost regular sonata form, but it starts with a hauntingly lyrical theme from the soloist, answered in the lower strings. The movement then quickly gathers pace with tonal shifts and modulations typical of Prokofiev’s style, out of which grows the soulful second theme which is then echoed in the horns and oboe. This respite is only temporary as the development alternates and weaves the two themes around each other before they merge in the recapitulation, ending the movement quietly with sustained notes in the low strings and brass, the bass drum marking its presence. The second movement opens with staccato woodwind and plucked strings providing a counterpoint and accompaniment to the soloist. This develops with interweaving melodic lines between the orchestra and soloist while the plucked accompaniment continues, leading to the second theme and variations, a duet between soloist and woodwind, with the waltz-like accompaniment never far away. The movement ends as it began with the plucked strings resolving into sustained notes on low strings and brass. The stormy final movement opens with a firm rhythmic theme from the soloist drawing the orchestra into a spiky waltz marked with beats from the bass drum and vigorous double and triple stopping from the soloist against castanets and other percussive accompaniments. The movement finishes with a final flourish from the string section and soloist, accompanied by insistent drumming and culminating in three final cadences of plucked strings and drums.
Alison Vinnicombe
Symphony No. 5 Dmitri Shostakovich in D minor, Op.47 (1906-1975) Moderato – Allegretto – Largo – Allegro non troppo “A Soviet artist’s creative answer to just criticism.” This has often been quoted as Shostakovich’s description of his fifth symphony or even as his formal sub-title to the work, to be interpreted somewhere on a scale between abject capitulation to officially prescribed taste and a sardonic pronouncement through clenched teeth. In fact, the composer never formulated the phrase himself, instead citing it in a periodical article as the opinion of an unidentified critic. There is no doubt, nonetheless, that at the time of the work’s premiere in Leningrad on 21 November 1937 Shostakovich was in dire need of rehabilitation. Having spent his twenties as the Wunderkind of Soviet music, his acclaim reaching its zenith with the success of his brilliant modernist opera Lady Macbeth of the
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Mtsensk District in 1934, he had been calamitously recast as the arch-perpetrator of bourgeois formalism in the anonymous Pravda article “Muddle instead of music” published in January 1936, two days after Stalin’s attendance at (and early departure from) a performance of that very opera. His preceding symphonies offer a useful summary of his career to that point. The first was the exuberant, rather brittle, outpouring of a supremely gifted student taking advantage of the still relatively receptive attitude of the state towards artistic experimentation. The second, with its factory siren in the orchestra and closing chorus of propagandist verses, develops the experimentalism, while the third, also in one movement with a final chorus, shifts the balance between modernism and agit-prop towards the latter. His fourth, a huge Mahlerian canvas of coruscating originality, embodied all the traits demonized as “bourgeois formalism” and was being written at the very time the Pravda article appeared. It was not formally banned, but the composer himself, with a realistic sense of self-preservation, withdrew it during the rehearsal process. Musical misdemeanours were serious enough, but he was also tainted by association with Mikhail Tukhachevsky, Marshal of the Soviet Union and amateur musician, whose patronage of the young composer become a dangerous liability when he was arrested and shot on trumped-up charges of treason in May 1937. Shostakovich was spared potentially fatal inquiries into their relationship only by the arrest of his own interrogator. It was far, therefore, from a foregone conclusion that the first performance of his new symphony under Mravinsky, a little known conductor at the time, would return Shostakovich to favour. He had not followed the recommended routes to socialist realism such as the use of folk song or a facile accessibility of idiom. He used traditional four movement form and provided an apparently optimistic finale, but his work was serious, in places uncompromising, and complex enough to permit the ambiguities of interpretation which have attended it over the decades. He and others were able to invoke or imply the precedent of classic works by Beethoven and Tchaikovsky to offer a general scenario of tragedy and suffering overcome in a life-affirming fashion. Early audiences reacted with consistent and perhaps courageous enthusiasm. Despite an abortive attempt by some Party apparatchiks to depict the audience response as the product of an imported claque, the new work was officially acknowledged as a move in the right direction and Shostakovich regained his stature long enough to become a wartime icon of the patriotic artist, before being assailed by a second denunciation in 1948. The symphony opens in an ominous fashion with the lower strings playing a dotted rhythm, echoed a beat later by the violins. The exposition is lyrical but underpinned by an unease which develops into a brutal march, leading to a strident version of the opening and a defiant climax. This subsides into a bleak, ethereal, celesta-haunted coda.
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Next comes a short scherzo deploying the full Mahlerian armoury of waltz rhythms, schmaltzy violin, shrill woodwind and blatant brass, capable of interpretation as light relief or savage irony. The work’s centre of gravity is a slow movement innovative for Shostakovich’s symphonies in its chaste, grave solemnity. The strings, divided into three groups of violins and two each of violas and cellos, carry the burden of the movement’s emotion with poignant touches of woodwind, harp and celesta. The brass are quarantined from this Largo but burst in with their accomplices the timpani to initiate the most controversial movement, the finale. An optimistic conclusion would certainly have been considered mandatory to counterbalance the darkness of earlier movements but in the purported memoirs of the elderly Shostakovich, edited by Solomon Volkov as Testimony, the composer describes the rejoicing as forced “as if someone were beating you with a stick and saying ‘Your business is rejoicing, your business is rejoicing’”. Whether these are genuinely Shostakovich’s words or not, there is enough in the music to make the sentiment entirely plausible. The allegro quickly collapses into an ambiguous slow section which is lyrical but certainly not untroubled, from which the first theme emerges with minatory brass growls. If you wish to hear it, the cudgel is clearly audible in the concluding drum strokes. More subtly, the finale has been shown to incorporate references to themes from the first of Shostakovich’s Four romances on poems by Pushkin which describes “visions of original, pure days” emerging like the added pigment flaking off a masterpiece which has been overpainted by a “barbarian artist”. If there is any optimism in the fifth symphony, this is probably the key to it.
Stephen Hills
MATTHEW TRUSLER Violin
On graduating from Philadelphia’s Curtis Institute in 1998, the Times declared of Matthew Trusler that “we might just have an authentic, though British, virtuoso.” “Matthew Trusler has been attracting the kind of praise normally reserved for a young Oistrakh” The Independent Since then Trusler has developed a reputation as one of Britain’s leading violinists, performing with many of the world’s great orchestras, and receiving huge critical acclaim for his diverse recordings. He has also founded the record label Orchid Classics on which some of the
most important artists of today are recording, and the Lenny Trusler Children’s Foundation, which raises money for desperately ill babies. Trusler was instrumental in forming the Malmo International String Festival of which he became Artistic Director in
copyright: Sheila Rock
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2011, and was in 2012 appointed a director of Delange Artists Management, based in Amsterdam. Performing on a bow once owned by Heifetz, given to him by Herbert Axelrod (who himself received it from Heifetz), Trusler has received particular acclaim for his performances of works from the 20th century, including concertos by Walton, Berg and Britten. His recording of concertos by Korngold and Rozsa with the Dusseldorf Symphony received 5 stars in BBC Music Magazine, and the headline “Hotter than Heifetz?” Trusler has been invited to perform as a recitalist and concerto soloist throughout Europe, Australia, the USA, Japan and South Africa. In the UK he has performed with major orchestras, including the BBC Symphony, BBC Scottish and BBC Welsh orchestras, the Philharmonia, London Philharmonic, Royal Philharmonic, City of Birmingham, Halle and Academy of St. Martin-in-the-Fields, and has appeared further afield with the Minnesota Orchestra, NDR Hanover, Helsinki Philharmonic, Deutsche Symphony Berlin, Malaysian Philharmonic and Johannesburg Philharmonic. Some of his personal highlights include tours with the Australian orchestras (including appearances in Perth, Queensland and Tasmania), a tour of Germany with the Academy of St. Martin-in-the-Fields and Sir Neville Marriner, and a tour of Mexico with Martyn Brabbins and the Philharmonia. Alongside his concerto work Matthew Trusler is an accomplished recitalist and an avid chamber musician. Trusler has performed frequently with Wayne Marshall, and the duo’s recent disc – Blues –presents a collection of short pieces by composers directly influenced by jazz. The CD was released to huge critical acclaim, including CD of the week in the Telegraph, and on Classic FM, and Recital CD of the month in Strad Magazine. Trusler regularly performs with pianist Ashley Wass and he collaborates with other eminent musicians including Piotr Anderszewski, Martin Roscoe, Peter Donohoe, Imogen Cooper, Leonidas Kavakos, Lynn Harrell, and Joseph Silverstein. Trusler has performed recitals in leading venues around the world including the Wigmore Hall in London, the Auditorium du Louvre in Paris, and the Palais des Beaux Arts in Brussels. Trusler founded Orchid Classics in 2005, and the label now has major distribution internationally, as well as a separate division for PR and concert promotion. In addition the company launched a foundation to help especially talented young British musicians to make and promote recordings. Past and future artists to appear on Orchid in both spoken word and music recordings include Danny DeVito, Clive Owen, Ralph Fiennes, James Gilchrist, Guy Johnston, the Brodsky Quartet, and Ex Cathedra. In addition to the Rosza/Korngold, Blues and Pity of War discs Trusler’s recording activities saw the release of a newly orchestrated version of Heifetz’s Porgy and Bess arrangement, with the BBC Concert Orchestra conducted by Carl Davis. This season he
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will release the Britten violin concerto with the Flanders Symphony on Orchid Classics as well as a new disc for children entitled Fairy Tales. Trusler also has a passion for film, and has recently acted as a consultant on the adaptation of Norman Lebrecht’s novel The Song of Names for film, the screenplay being written by Jeffrey Caine (Oscar Nominee for The Constant Gardener). Recently Trusler recorded the violin solos for the soundtrack of a new French film by director Frédéric Mermoud, Complices.
Matthew Trusler holds a teaching post at the Malmö Academy in Sweden, has two young daughters and lives in Paris. He plays a 1711 Stradivarius.
For more information, and to read Matthew's blog, or follow him on Twitter and Facebook, visit www.matthewtrusler.com
TIMOTHY REDMOND Conductor
Timothy Redmond conducts and presents concerts throughout Europe and has been principal conductor of the Cambridge Philharmonic since 2006. He has given concerts with the Hallé, Royal Liverpool Philharmonic and Ulster Orchestras, with the BBC Concert, Philharmonic and Symphony Orchestras, and with the Northern Sinfonia, National Youth Orchestra and
Orchestra of Opera North. He conducts concerts every season with the London Symphony Orchestra, has a long-standing association with the Manchester Camerata and is a regular guest conductor with the Royal Philharmonic Orchestra, both in the recording studio and the concert hall. He has recently guest-conducted orchestras in Bosnia, Estonia, Finland, Italy, Macedonia, Slovenia and the US and broadcasts regularly on TV and radio. Timothy Redmond is well-known as a conductor of contemporary music. Since working closely with Thomas Adès on the premiere of The Tempest at Covent Garden, he has conducted critically-acclaimed productions of Powder Her Face for the Royal Opera House and St Petersburg’s Mariinsky Theatre. In 2010 he conducted the world premiere of The Golden Ticket, Peter Ash and Donald Sturrock’s new opera based on Charlie and the Chocolate Factory, for Opera Theatre of St Louis. The following season he conducted the work’s European premiere at the Wexford Festival and gave the first performance of a new oratorio by Edward Rushton with the London Symphony Orchestra.
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In the opera house he has conducted productions for Opera North (Don Giovanni), English National Opera (world premiere of Will Todd’s Damned and Divine), English Touring Opera (Daughter of the Regiment, The Magic Flute, Carmen), Almeida Opera (world premiere of Raymond Yiu’s The Original Chinese Conjuror) and ROH Linbury (European premiere of Tobias Picker’s Thérèse Raquin). He has conducted at festivals in Bregenz (Austrian premiere of Richard Ayres’ The Cricket Recovers), Tenerife (Glyndebourne productions of Carmen, Gianni Schicchi and Rachmaninov’s The Miserly Knight) and Los Angeles (Barber’s A Hand of Bridge). He has also conducted opera for New York’s American Lyric Theater, at the Buxton and Aldeburgh Festivals and as a member of music staff at De Vlaamse Opera, Garsington and Glyndebourne. His recordings include Dreams with the French cellist Ophélie Gaillard and the RPO (Harmonia Mundi), discs with Natasha Marsh and Mara Carlyle for EMI, and CDs with the Northern Sinfonia and Philharmonia. Recent highlights have included a concert of jazz-inspired works to conclude the LSO’s 2011 Stravinsky Festival, a series of concerts with the BBC Symphony Orchestra in 2012 and the New York premiere of The Tempest, for which he assisted Thomas Adès at the Metropolitan Opera. His 2013/14 season includes debuts with the Philharmonia, Rotterdam and London Philharmonic Orchestras, a tour to China with the Royal Philharmonic Orchestra, premieres of new Finnish works with the Oulu Sinfonia and several concerts at the Barbican with the London Symphony Orchestra. Opera highlights include Peter Grimes in Cambridge and a new production of Powder Her Face for English National Opera. Timothy Redmond read music at Manchester University and studied oboe and conducting at the Royal Northern College of Music, where he held the RNCM’s Junior Fellowship in Conducting. He furthered his studies in masterclasses with George Hurst, Ilya Musin Yan Pascal Tortelier and Pierre Boulez.
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STEVE BINGHAM Leader
Steve Bingham studied violin with Emmanuel Hurwitz, Sidney Griller and the Amadeus Quartet at the Royal Academy of Music, where he won prizes for orchestral leading and string quartet playing. Whilst still a student he formed the Bingham String Quartet, an ensemble that has gained – over nearly 30 years - an enviable reputation for both classical and contemporary repertoire. Steve has appeared as guest leader with many orchestras including the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra and English National Ballet. He has given solo recitals on three continents and his
concerto performances have included works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius, given in venues as prestigious as St. Johns’ Smith Square and the Royal Albert Hall. In recent years Steve has developed his unique solo concerts featuring live-looped electric violin, and he also records and performs with a wide variety of bands and artists including No-Man, the progressive art-rock duo of Tim Bowness and Steven Wilson. Steve has released two solo albums, Duplicity and Ascension, and a CD of poetry and music with Jeremy Harmer entitled Touchable Dreams. 2013 has seen the release of several singles on iTunes, and a new solo CD The Persistence of Vision, featuring the unusual juxtaposition of music by J S Bach and Michael Nyman, will be out in June. Alongside these Steve has been active on his YouTube channel –youtube.com/stevebinghamviolin - publishing a wide range of music videos and vlogs. More information about Steve’s activities can also be found on his website at stevebingham.co.uk
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Cambridge Philharmonic Orchestra
1st Violins Steve Bingham (leader) Kate Clow (co leader) Lucy Andrews Viola Augstein Graham Bush Roz Chalmers Sophie Channon Hilary Crooks Charlotte Cunningham Maydo Kay Meriel Rhodes John Richards Sarah Ridley Sean Rock Debbie Saunders Laura Smith Pat Welch Gerry Wimpenny 2nd Violins Emma Lawrence Jenny Barna Joanna Baxter Fiona Cunningham Sarah Edwards Adele Fryers Rebecca Forster Naomi Hilton Maydo Kay Anne McAleer Edna Murphy Katrin Ottersbach Ariane Stoop Violas Gavin Alexander Elizabeth Andrews Anne-Cecile Dingwall Jeremy Harmer Jo Holland Samara Humbert-Hughes Emma McCaughan
Janet O'Boyle Robyn Sorensen Alun Williams Agata Wygnanska Cellos Vivian Williams Catherine Alexander-Kiff Sarah Bendall Angela Bennett Helen Davies Melissa Fu Clare Gilmour Isabel Groves Helen Hills Lucy Mitchell Lucy O'Brien Double Basses Sarah Sharrock Stuart Clow Kate Merrington John Richens Tony Scholl Susan Sparrow Flutes Cynthia Lalli Alison Townend Piccolo Samantha Martin Oboes Rachael Dunlop Victoria Booth Clarinets Graham Dolby David Hayton Sue Pettitt
Bassoons Neil Greenham Jenny Warburton Contrabassoon Phil Evans Horns Carole Lewis Laurie Friday George Thackray Chris Wykes Trumpets Andy Powlson Kate Goatman Will Roberts Trombones Denise Hayles Nick Byers Bass Trombones Alan Dimond Tuba Alan Sugars Timpani Dave Ellis Percussion Oliver Butterworth Oliver Pooley Derek Scurll James Shires Harp Lizzy Scorah Piano Andrew Black
Cambridge Philharmonic 2013-14 Season Programme
Saturday 9th November 2013 BACH: Toccata in F Major BWV 540
FAURÉ: Cantique de Jean Racine BACH: Chaconne BWV 1004 FAURÉ: Requiem Soloists: Steve Bingham (Violin), Alex Berry (Organ), Emily Vine (Soprano), Sam Queen (Baritone)
Sunday 15th December 2013 BRITTEN: Peter Grimes Soloists: Daniel Norman (Peter Grimes), Elisabeth Meister (Ellen Orford), Mark Holland (Captain Balstrode), Yvonne Howard (Auntie), Kristy Swift (First Niece), Christina Haldane (Second Niece), Jeffrey Stewart (Bob Boles), John Molloy (Swallow), Jean Rigby (Mrs Sedley), Ted Schmitz (Rev. Horace Adams), Oliver Dunn (Ned Keene), Simon Wilding (Hobson)
Saturday 11th January 2014 Family Concert ASH: Music from The Golden Ticket MINCHIN: Music from Matilda PATTERSON: Little Red Riding Hood Presenter: Chris Jarvis
Saturday 15th March 2014 MAHLER: Symphony No. 3 Soloist: Sarah Castle (Mezzo Soprano)
Saturday 3rd May 2014 HAYDN: Die Schöpfung (The Creation) Soloists: Céline Forrest (Soprano), Nicholas Scott (Tenor), Bozidar Smiljanic (Bass baritone)
Saturday 5th July 2014 Ely Cathedral BERLIOZ: Grande Messe des Morts
Soloist: Bonaventura Bottone (Tenor) With the Cambridge and Norwich Philharmonic Choruses
For further information and online ticket sales, visit
www.cam-phil.org.uk
To leave feedback about our concerts and events, please email: [email protected]
To receive news of forthcoming concerts, send a blank email to:
Shostakovich 5
Britten Four Sea Interludes from Peter Grimes Prokofiev Violin Concerto No. 2 Shostakovich Symphony No. 5 Conductor Timothy Redmond Violin Matthew Trusler Cambridge Philharmonic Orchestra
Sunday 20 October 2013 at 7.30pm West Road Concert Hall, Cambridge
