Canterbury Orchestra
Canterbury Orchestra

The Canterbury

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


7.30pm, Saturday 30th November 2019, Colyer-Fergusson Hall

Tickets £15 and £8

Prokofiev: Montagues and Capulets from Romeo & Juliet
Shostakovitch: Second Piano Concerto (soloist Christopher Weston)
Tchaikovsky: Symphony no.4

Andrew Lowen; Conductor
Amanda Wyatt; Leader

Canterbury Orchestra is delighted to present three remarkable pieces of Russian music, opening with the powerful theme from Prokofiev’s ballet music, followed by the uncharacteristically joyful piano concerto written by Shostakovitch for his son’s 18th birthday, performed by the talented Christopher Weston. The concert concludes with Tchikovsky’s Symphony no.4, reflecting the composer’s emergence from a period of emotional and creative tensions.






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