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Canterbury Orchestra
Canterbury Orchestra

The Canterbury
Orchestra

Most towns and cities have an amateur symphony orchestra, and it often becomes the focal point of music making in the area. Canterbury is no exception, though with such a wealth of activity in the arts here, sometimes this city’s own orchestra struggles to be heard. Yet the Canterbury Orchestra has survived for half a century fulfilling its founders’ aims of giving talented amateurs the opportunity to prepare and play - to a hopefully appreciative audience - not just the masterpieces of the symphonic repertoire but some lighter music as well. The players are drawn from all walks of life and all age groups: they are united in the sheer enjoyment of making music together.

The orchestra is affiliated to Making Music and supported by the Canterbury Arts Council, members' subscriptions, concert revenue, sponsors, patrons and friends.

Jonathan Spencer
Chairman of Canterbury Orchestra

The Canterbury Orchestra

NEXT CONCERT: CLASSICAL MASTERWORKS

Canterbury Orchestra Spring Concert: Classical Masterworks

7.30pm, Saturday 14th March 2020, Colyer-Fergusson Hall

 

Tickets £15 and £8

 

Mozart: Divertimento K.136

Haydn: Notturno no.4

Mozart: Symphony no.31 (The Paris)

Beethoven: Symphony no.7

 

Andrew Lowen; Conductor

Molly Richetta; Leader

 

Canterbury Orchestra presents works by the three most influential composers of the Classical Period, beginning with early compositions by Haydn and Mozart which represent mainstream popular music of the day and are both charming and witty.  Mozart’s Divertimento in the style of an Italian Sinfonia features the string section of the Orchestra whilst Haydn’s Notturno is arranged for wind instruments.  Mozart’s Symphony no.31 was written during a stay in Paris and the instrumentation reflects his access to larger orchestras — it was his first symphony to include clarinets.  Beethoven produced his 7th Symphony whilst convalescing in the Bohemian spa town of Teplice & is known for its use of rhythmic figures and tonal subtlety.

 

 

 

 

 

 

The next pair of pieces were an opportunity for us to hear the beguiling work of Clara Schumann, played wonderfully by the evening’s soloist, Katherine Tinker. In a superb piece of programming, Clara’s Variations on a Theme of Robert Schumann (a work for solo piano) was presented before her Konzertsatz.

Sam Messer

The ‘pastoral’ quality of Butterworth’s On Banks of Green Willow was rendered well, with good control of tone in the strings; and well-judged contrasts in mood as the work unfolded. Mention must be made of the effective woodwind solos.

Dr Michael Chandler