FOUR LAST SONGS

Ensemble 360 & Claire Booth

Crucible Playhouse, Sheffield

Saturday 23 May 2026, 7.00pm

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› FOUR LAST SONGS

R STRAUSS Sextet from Capriccio (12’)
SARGEN Fallen, felled (world premiere commissioned by Music in the Round) (5’)
SIBELIUS En Saga (20’)
WAGNER Siegfried Idyll (20’)
R STRAUSS (arr. Ledger) Four Last Songs (25’)

“A swansong of sublime beauty” (Classic FM), Strauss’s ‘Four Last Songs’ are among the most touchingly beautiful and richly expressive pieces in the classical repertoire.

These exquisite works are performed alongside Sibelius’s charmingly evocative tone poem fairytale, presented in its original septet version. This closing concert promises warm melodies and lyrical beauty.

Post-concert drinks
Friends of Music in the Round are invited to join us for drinks after the Final concert. Find out more about how you can become a Friend and join the post-Festival party at: www.musicintheround.co.uk/friends

“No exploration of the song repertoire would feel complete without Four Last Songs. Pairing these luminous works with En Saga and Siegfried Idyll brings the festival full circle, uniting music of extraordinary beauty with a deep sense of narrative meaning. Strauss’s songs rise with radiant, almost transcendent lyricism, yet their poetry gently reminds us that the most profound story is our own—shaped by time, change, and reflection. Together, these works inhabit a space where sound and storytelling become inseparable. To perform this programme alongside my closest friends and colleagues in the Ensemble is a genuine privilege. Over the years, they have introduced me to a wealth of remarkable chamber music, continually broadening my perspective. It is both a joy and an honour to share the stage with them in music of such depth and sincerity.” Claire Booth, 2026

This concert is generously sponsored by Kim Staniforth, in memory of Margaret Staniforth.

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Strauss’s one-act opera Capriccio comes from the final period of the composer’s life, which saw him move away from the large orchestras he had used hitherto into a sound world characterised by the use of more compact, refined music written for more chamber-like forces. It was a time clouded by war, but it was to bring forth a clutch of masterpieces, including the Second Horn Concerto, the symphonic poem Metamorphosen and the splendidly blithe Oboe Concerto.

Strauss was 75 and living in the Bavarian resort of Garmisch-Partenkirchen when World War II began. He was in the middle of writing his opera Die Liebe der Danae, which marked his farewell to large-scale, opulently scored operas. For his next and last stage project, he chose a libretto by the conductor Clemens Kraus, which turned on the relative merits of words versus music, personified as the rivalry between a poet and a musician for the love of a young widowed countess. This project was Capriccio, which occupied Strauss during 1940-41. Capriccio was subtitled a ‘conversation piece’, and is Strauss’s most intimate score; despite the intellectual nature of the subject, the music is elegant, translucent and utterly beautiful.

This string sextet acts as the overture or prelude to the opera and is played as the curtain rises, revealing the scene of the salon in a chateau near Paris in pre-Revolutionary France. The players are rehearsing the music that the musician Framand has written to celebrate the birthday of the young Countess Madeleine. The music is totally romantic in feeling, beginning serenely and building in intensity to a passionate climax, before subsiding once more into tranquility.

This piece is conceptualised as the Finale to RUMOURS, a song cycle for children’s voices and ensemble co-written by Ellen Sargen and children at Mundella Primary School, Sheffield, in Spring 2026. RUMOURS reimagines the tale of Hansel & Gretel as a group of children navigating the fabricated rumours they have heard about a woman who lives in the local woods nearby, and finding the courage to stand against the prejudice this woman encounters from the local town. Across three songs (Curious, Into the Woods and Stand up for her), the characters tackle learning how to trust someone and stand up against prejudice and discrimination.

Fallen, felled looks back on these themes and leans into the darkness that characterises Grimm’s Fairytales. At the centre of this piece ‘the witch’ sings about the Ash tree, which in Scandinavian mythology is the tree that links and shelters all worlds. Here it becomes a central symbol that intertwines the setting from our reimagined story with those who bring politics into protecting others. The piece includes themes written by the children and transformed through this lens.

Sibelius arrived in Vienna in the autumn of 1890 to begin his studies with Robert Fuchs and with Karl Goldmark, who encouraged him to study Mozart’s clarinet writing. In 1891 he was working on an Octet including clarinet, which had turned into a Septet for flute, clarinet and strings by September 1892. At the end of 1892 he had produced the first version of his orchestral tone poem En Saga, and Sibelius told one of his biographers that En Saga ‘had as its basis for flute, clarinet, and strings begun in Vienna.’ Sibelius was careful to cover his tracks, and no sketches have been discovered for either this or the equally mysterious Ballet Scene No. 2 (written just before En Saga). Even so, there’s plenty of evidence that En Saga did have an earlier incarnation as a chamber work – first as an octet, then as a septet – and the 1892 version of the orchestral score has been used to reverse engineer a fascinating reconstruction of Sibelius’s original conception for seven instruments.

© Nigel Simeone 2015

Wagner composed the Siegfried Idyll at Tribschen, on Lake Lucerne. In 1869, his wife Cosima had a son – Siegfried – and a few months later, the piece Wagner had written in honour of mother and son had its first performance. On Christmas Day 1869, thirteen musicians gathered on the stairs outside Cosima’s bedroom and she awoke to the new piece (originally called Tribschen Idyll, with Fidi’s [i.e. Siegfried’s] Birdsong and Orange Sunrise, as a Symphonic Birthday Greeting from Richard to Cosima). Among the musicians in the first performance, the trumpeter was Hans Richter. Seven years later he conducted the first complete performance of Wagner’s Ring Cycle at the inaugural Bayreuth Festival. There’s a direct musical link: Brünnhilde’s music in the final scene of Siegfried – as she is woken by Siegfried on a rock ringed by fire – is drawn directly from the Siegfried Idyll.

Nigel Simeone 2014

Frühling

September

Beim Schlafengehen

Im Abendrot

In 1948, composer Richard Strauss was 84 and suffering from failing health and depression, yet still nurtured the ambition to write once more for the soprano voice. In exile in 1946, he had come across a collection of poems by Joseph von Eichendorff and had been moved by one of them, Im Abendrot, whose portrait of an elderly couple at the end of their lives closely matched the circumstances of Strauss and his wife Pauline. Two years later he composed three more songs on texts by Hermann Hesse: Frühling (Spring), September and Beim Schlafengehen (When Falling Asleep). Each of these, like Im Abentrot, explores themes of farewell, fulfilment, lifelong love and death.

The title ‘Four Last Songs’ is not Strauss’s own, but taken together the songs represent not only a summation of his style, but also a mood of conscious and deliberate farewell. Strauss never heard the songs performed; he died on 8 September 1949 at Garmisch and the first performance was given by Kirsten Flagstad with the Philharmonia Orchestra in the Royal Albert Hall on 22 May 1950.

James Ledger was commissioned to write a chamber arrangement for the great British soprano Dame Felicity Lott, which was premiered at the Wigmore Hall by her and the Nash Ensemble in 2005. He writes: “My philosophy in arranging these songs was to create an honest representation of the original as chamber music. There exists already an arrangement of Vier letzte Lieder for piano and voice. It could be argued that this version already constitutes chamber music. However, the piano only goes so far in capturing the breadth of the original (it is after all, played by only one person) and it leaves the songs firmly in a monochrome world and therefore offers no insight into the translucent instrumental world that Strauss occupies in the original.

“For this new arrangement, a combination of thirteen players (plus soprano) was decided upon, the instrumentation being: flute doubling piccolo, oboe doubling cor anglais, clarinet doubling bass clarinet, bassoon, horn, two violins, two violas, two cellos, double bass and piano. From this list it can be seen that the woodwind section is represented quite healthily, whilst the horn is the sole representative for the brass. Celesta, harp and timpani are also omitted in this version, but there is the inclusion of piano. The reduced number of strings firmly places this arrangement in an entirely different sound world from the original. For example, the lush opening of the fourth song, Im Abendrot, might typically have 50 or more string players in the orchestra and this physically can’t be re-created in this reduced version. Importantly, it shouldn’t try to do so.

“This leads to an interesting perception of arrangements as they are often regarded as poor cousins of the original. An arrangement shouldn’t be regarded as trying to improve on the original – although there are undoubtedly instances where this has been the case. An arrangement should be seen as a separate version in its own right. There are several reasons for remaining as true to the original instrumentation as possible with this arrangement. Firstly, Strauss writes so idiosyncratically for orchestral instruments it seemed fallacious to go against this. For example, I couldn’t imagine the horn solo that concludes September or the violin solo in Beim Schlafengehen on any other instrument. Secondly, these songs are so well known and well loved that to tamper with instrumentation too much could be seen as desecration of the original. I do hope that this chamber version presents the songs in a fresh way and at the same time remain as faithful as possible to the intentions of Richard Strauss.”

Frühling (Spring)

An invocation to Spring as a metaphor for all which is lost and irrecoverable. Strauss’s music captures the poet’s progress from impatience to fulfilment.

September

The symbolism of youth declining into old age is more explicit here; over a rippling of strings and woodwind, the soprano repeats a rocking phrase as the poet speaks of summer yearning for peace and closing wearied eyes.

Beim Schlaffengehen (Falling asleep)

The downward fall of the opening phrases mirror the gradual sinking into slumber. Strauss creates a ravishing melody first head on the solo violin. At the end his most characteristic instrument, the horn, takes over before being absorbed into the gently lulling string rhythm.

Im Abendrot (In the Sunset)

The song Strauss composed first takes its place as the finale. The poet shares a vision of an elderly couple looking into the sunset and asking ‘Ist das etwas der Tod?‘ (Is that perhaps death?) Strauss changed ‘that’ to ‘this’ and in the score quoted from his early tone poem, Tod und Verklärung (Death and transfiguration).

About the Artists

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist. Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players.

Claire Booth

“An actor-singer who can raise the dramatic heat as soon as she enters the stage” (Opera Now), “that most questing, resourceful and intelligent of sopranos” (Daily Telegraph), British soprano Claire Booth has been widely acclaimed for her “radiant, rapturous, wonderfully nuanced performances” and voice of “piercing purity [and] luscious richness” (The Scotsman). She is renowned for her breadth of repertoire, and for the vitality and musicianship that she brings to the operatic stage and concert platform, with a versatility that encompasses repertoire spanning from Monteverdi and Handel, through Rossini, Berg and Britten, to a fearless commitment to the music of the present day. Booth has won the 2025 RPS Singer Award with the jury celebrating an artistry that “knows no bounds.” Read more.

BEETHOVEN SEPTET

Ensemble 360

Crucible Playhouse, Sheffield

Tuesday 19 May 2026, 2.00pm

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› BEETHOVEN SEPTET

BEETHOVEN
  Violin Sonata in F ‘Spring’ (26’)
  String Quartet in C minor Op.18 No.4 (24’)
  Septet Op.20 (40’)

The hopeful, energetic and lyrical ‘Spring’ Sonata is one of the most famous of all Beethoven’s works for violin, paired here with an intense and stormy early quartet.

Perhaps Beethoven’s most-performed work during his lifetime, the Septet features wind and strings in a marvel of instrumental writing. Captivating from the stately elegance of its opening to the rousing flourishes of its grand finale, this is music to lose yourself in.

i. Allegro
ii. Adagio molto espressivo
iii. Scherzo. Allegro molto
iv. Rondo. Allegro ma non troppo

The ‘Spring’ Sonata was written in 1800 and first published the following year, originally as the second of a pair of sonatas. Both are dedicated to Moritz von Fries, a banker with an expensive lifestyle (leading to his eventual bankruptcy) and excellent taste in music and art. Beethoven was a regular guest at Fries’s home and as well as the Op. 23 and Op. 24 Violin Sonatas, Fries was also the dedicatee of the Seventh Symphony. The origins of the nickname are obscure, but ‘Spring’ is a very apt choice for this genial work. After the lyrical first movement, the Adagio molto espressivo is a deeply felt song without words, including some elaborate decorations. The Scherzo lives up to its name: a clever and tricky rhythmic joke that plays with the audience’s expectations – and it is also one of Beethoven’s shortest sonata movements. The Rondo is one of Beethoven’s most gentle and unhurried finales, bringing this most radiant of his violin sonatas to an amiable close. The ‘Spring’ Sonata is the first of Beethoven’s violin sonatas to be in four movements (its four predecessors are all in three movements) and it is a work of effortless ingenuity as well as boundless charm.

Allegro ma non tanto
Andante scherzoso quasi allegretto
Menuetto. Allegretto
Allegro – Prestissimo

C minor was a key that Beethoven used for some of his most dramatic music – works like the Fifth Symphony, the Pathétique Sonata, and the Coriolan Overture – and Sir George Grove wrote that “the pieces for which he has employed it are, with very few exceptions, remarkable for their beauty and importance.” The fourth of the Op.18 quartets has something of the turbulent mood of other pieces in C minor. The first movement is uneasy, though surprisingly, perhaps, this is especially apparent in the so-called Minuet third movement that has a particularly dark, brooding kind of energy. But there’s something paradoxical about this work: Beethoven has no real slow movement, and instead he has written a playful Andante in C major. The rondo finale is reminiscent of Haydn, written in the ‘Hungarian’ style he often used (but a rarity in Beethoven). An exciting minor-key main theme is interspersed with gentler episodes, culminating in a wild dash to the finish.

Nigel Simeone 2013

Adagio – Allegro con brio
Adagio cantabile
Tempo di menuetto
Tema con variazioni. Andante
Scherzo. Allegro molto e vivace
Andante con moto alla marcia – Presto

Beethoven’s Septet was written in 1799. It was first performed at a concert given by Beethoven at the Burgtheater in Vienna on 2 April 1800 and was published – after a typically querulous exchange between Beethoven and his publisher – in 1802. Aiming for the top in terms of potential supporters, Beethoven dedicated it to Maria Theresa – the last Holy Roman Empress and the first Empress of Austria. The Septet’s success was enduring, something Beethoven came to resent since he felt the public should take more interest in his later music.

The first movement is a genial sonata form Allegro with a slow introduction. The Adagio cantabile opens with a clarinet melody that is taken over by the violin, while clarinet and bassoon play a counter-melody, all supported by a gentle accompaniment on the lower strings. The bucolic Minuet demonstrates Beethoven the recycler, using the same theme as the Piano Sonata Op.49 No.2. The relaxed mood is maintained in the charming theme and variations. The Scherzo is launched by a horn call from which much of what follows is derived. Even the start of the Trio has thematic links with this tune, but a cello theme provides an effective contrast. The finale begins with one of the few significant uses of a minor key in the Septet: a stern march that quickly gives way to a rollicking Presto, its mood unclouded and its themes deliciously memorable.

About the Artists

Ensemble 360

FELDMAN & BECKETT: WORDS & MUSIC

Siobhán McSweeney, Jonjo O'Neill, Ensemble 360, George Morton & Vicky Featherstone

Crucible Playhouse, Sheffield

Monday 18 May 2026, 7.00pm

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› FELDMAN & BECKETT: WORDS & MUSIC

BECKETT Rockaby (15’)
FELDMAN Why Patterns? (30’)
BECKETT / FELDMAN Words & Music (25’)

‘Siobhán McSweeney brings masterful touch to Beckett’s masterpiece’
The Guardian (on Landmark Productions’ Happy Days)

For one night only, Bafta award-winning Siobhán McSweeney (Derry Girls, Amandaland, Great Pottery Throw Down and Traitors Ireland) stars in Rockaby, Beckett’s evocative monologue of memory and loss.

Join us for an enthralling evening of theatre, music and a dramatic meeting of the two, with this tribute to playwright Samuel Beckett and composer Morton Feldman.

Visionary titans in their respective artforms, the warm friendship of the composer and playwright resulted in some of the most extraordinary artworks of the 20^th century. Their unique collaboration Words & Music features a small group of musicians playing a distinctively taut Feldman score, which becomes a character in the drama, with Siobhán McSweeney playing ‘Words’ and Ensemble 360 ‘Music’, the two servants of ‘Croak’ played by Jonjo O’Neill.

Ensemble 360 will also give a performance of Feldman’s contemplative music for flute, percussion and piano Why Patterns?

Don’t miss your only chance to experience this extraordinary evening of music and drama, directed by Vicky Featherstone (Artistic Director, Royal Court Theatre and Founding Artistic Director, National Theatre of Scotland).

Morton Feldman was a composer like no other. He studied with Stefan Wolpe and received guidance from Edgard Varèse. Of key importance were his friendships with John Cage and the New York painters, one of whom, Philip Guston, inspired Feldman to steer a path between the physical and the metaphysical; between concrete reality and subtle refinement; between impact and resonance. He could seem to go out on a limb but he also set great store by beauty. Like most truly original composers, Feldman was like his music: disarmingly transparent and intriguingly enigmatic. He had the confidence and intelligence to savour contradiction.

When I worked as Feldman’s editor in the late Seventies, he once remarked, “For most composers, form follows function; for me, function follows form”. He also told me that the salient aspects of music, for him, were rhythm and form. Rhythmic inventiveness is beguilingly evident in Why Patterns? and remained paramount in the works that followed, even as he moved from form to scale; and towards those extremely long pieces which he regarded as “like evolving things”.

Feldman worked on the music for Words & Music in 1987, just a few months before he died of cancer. His deep respect for Samuel Beckett (who had written the text for his opera, Neither) allowed Feldman to recover the warmth of what many of his admirers would have called a more familiar language: one that was, yes, distinctively painterly.

In an interview recorded in 1987, Feldman commented that Beckett was “a word man, a fantastic word man” and that “I always felt that I was a note man”. I would argue that Feldman and Beckett were also makers of images. The combination of words and notes in Words & Music (paradoxically, a ‘radio play’) is arrestingly dramatic.

Howard Skempton 2026 ©

“a gift of theatre … dazzling ”

WhatsonStage (on Landmark Productions’ Happy Days)

“There isn’t a hint of sentimentality in Vicky Featherstone’s delicately calibrated production of Samuel Beckett’s monologue about mortality.”

The Guardian

About the Artists

Siobhán McSweeney

Siobhán McSweeney is an actress and presenter. Her film and television works include The Wind That Shakes the Barley (2006), The Fall (2013), No Offence (2015), Derry Girls (since 2018) and Amandaland and as presenter for The Great Pottery Throw Down and Traitors Ireland. She studied acting at Central School of Speech & Drama, London. She also studied at Ecole Philippe Gaulier in Paris and has worked in theatre all over the UK and Ireland, at The Abbey Theatre, the Lyric Belfast, the Royal Shakespeare Company and others… Read more.

Jonjo O’Neill

Jonjo O’Neill was born in Belfast, Northern Ireland in 1978. In 1996, he moved to England to study at the Guildford School of acting.

Jonjo is now a well known British stage actor and is Associate Artist with the Royal Shakespeare Company, perhaps best known for his portrayals of Richard III and as Mercutio in the acclaimed Rupert Goold production of Romeo & Juliet.

Onscreen Jonjo is best known for Defiance (2008), Doctor Who (2005), The Assets (2014), The Fall(2013) and Constantine (2014).

Ensemble 360

George Morton

George Morton is a conductor and arranger based in Sheffield, and is the Musical Director of Sheffield Philharmonic Orchestra and Principal Conductor of the Picture House Orchestra. He specialises in conducting music for film and is in demand across Europe for silent film with orchestra projects.

In the 2025/26 season, George makes his debuts with the BBC Concert Orchestra, Ulster Orchestra and Orchestra of Welsh National Opera, as well as returning for concerts with Opera North. George is a permanent Guest Conductor of Babylon Orchester Berlin, which he will conduct on multiple occasions across the season. Continuing his strong relationships in Sweden, he returns to conduct Västerås Sinfonietta and Uppsala Chamber Orchestra. In recent seasons, George has conduced concerts with the Luxembourg Philharmonic, London Mozart Players, Northern Chamber Orchestra, Ensemble 360, Sinfonia Smith Square, Vaasa City Orchestra, Roma The Orchestra, Stockholm Concert Orchestra, London Chamber Orchestra and the Nordic Chamber Orchestra. Read more here.

Vicky Featherstone

Vicky Featherstone is a theatre and artistic director.

She was artistic director of the UK new writing touring theatre company Paines Plough from 1997, founding director of the National Theatre of Scotland in 2004, and the first female artistic director of London’s Royal Court Theatre from 2013 until 2023. Featherstone’s career has been characterised by significant involvement with new writing.

EXPLORING COCTEAU’S ‘THE HUMAN VOICE’

Claire Booth, Dr. James Jackson, Dr. Caroline Potter & Dr Ana Maria Sanchez-Arce

Showroom, Sheffield

Monday 18 May 2026, 2.00pm

Tickets:
£17
£10 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› EXPLORING COCTEAU’S ‘THE HUMAN VOICE’

featuring film performances from INGRID BERGMAN, SOPHIA LOREN & TILDA SWINTON.

Ahead of our performance on Tuesday evening, a panel of music and film experts explore the Jean Cocteau masterpiece that gave rise to Poulenc’s adaptation, La Voix Humaine.

Claire Booth and guests discuss the impact and influence of various cinematic versions of the work by luminous actors and some of the greatest directors, before a screening of Pedro Almodóvar’s 30 minute version starring Tilda Swinton from 2021.

Save 20% when you book for 10 or more Music in the Round Sheffield concerts in one transaction.

Save 10% when you book for 5 or more Music in the Round Sheffield concerts in one transaction. Find out more.

About the Artists

Claire Booth

SUNSET

Ensemble 360

Samuel Worth Chapel, Sheffield

Sunday 17 May 2026, 8.00pm

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› SUNSET

WEBER Clarinet Quintet (29’)
MOZART Oboe Quartet, K370 (14’)
KORNGOLD Piano Quintet (32’)

Join Ensemble 360 for an intimate concert of quartets and quintets as darkness descends on a special musical day in Sheffield General Cemetery. Among the highlights are Mozart’s lilting and languid Oboe Quartet and Korngold’s magical Piano Quintet. Full of wit and wonder, with a lushly romantic, haunting second movement, it features the beautifully apt and expressive theme “Moon, you rise again”.

Allegro
Fantasia. Adagio ma non troppo
Menuetto. Capriccio presto
Rondo. Allegro giocoso

Just as Mozart’s Clarinet Quintet and Concerto had been written with a particular player in mind, so were the concertos and Quintet of Carl Maria von Weber. Heinrich Bärmann and Weber immediately struck up a rapport after their first meeting in Munich, and his virtuosity greatly impressed the composer. This was partly, too, because of Bärmann’s choice of instrument. As John Warrack has explained, ‘two years before their Munich meeting, Bärmann had acquired a ten-key clarinet that allower greater flexibility and smoothness; an in Bärmann’s clarinet Weber found an instrument that with its French incisiveness and its German fullness seemed to express a new world of feeling, and to match both the dark romantic melancholy and the extrovert brilliance of his own temperament.’ As well as concertos for Bärmann, Weber worked sporadically on a Quintet. Having started this in 1811, he finally finished it on 25 August 1815, the day before the first performance. Given the rather haphazard composing process, it’s not surprising that the work is not one of Weber’s most profound, but it is a brilliant and charming vehicle for the soloist – described by John Warrack as ‘a pocket concerto, written purely for delight in virtuoso effect.’

Allegro
Adagio
Rondeau: Allegro

Mozart’s Oboe Quartet was written in Munich in 1781 with a particular player in mind: the oboist Friedrich Ramm (c.1744–1813). Ramm had been a member of the famous orchestra in Mannheim, where Mozart had first met him in 1777 and wrote very enthusiastically at the time about his playing and his ‘beautiful fine tone.’ Mozart arrived in Munich in late 1780 to prepare his new opera Idomeneo and Ramm was in the orchestra. Their admiration seems to have been mutual, since Ramm said of Idomeneo after an early rehearsal that no music had ever impressed him more deeply. According to at least one early catalogue of Mozart’s works (by Johann André), the Quartet was written during January 1781, while final preparations were being made for the première of Idomeneo on 29 January 1781.

The Oboe Quartet has been described by the oboist and musicologist Bruce Haynes as a ‘sparkling, ethereal work’. In three movements, and score for oboe, violin, viola and cello, it’s especially innovative in its exploitation of the oboe’s upper register – using notes that were only to be found on the latest models of oboe, and something of a Ramm speciality. Haynes has also noted that none of Mozart’s other works for oboe use the instrument’s highest notes in this way. The writing for the oboe is superbly idiomatic – and it’s intriguing to speculate (as Haynes has) that if Mozart had not met the brilliant clarinettist Anton Stadler after his move to Vienna (coincidentally, in the same year he composed the Oboe Quartet) – he might have written late masterpieces for solo oboe rather than for clarinet. The first movement is a breezy Allegro, while the slow movement suggests a slow, lyrical opera aria (making the most of Ramm’s singing tone). The finale is more unusual: a rondo that has passages where oboe and strings are playing in different time signatures (the oboe playing in 6/8 time while the strings are in 4/4) and makes the most of the virtuoso possibilities of the soloist.

NIGEL SIMEONE, 2010

Mäßiges Zeitmaß, mit schwungvoll blühendem Ausdruck [Moderate speed, with blossoming expression]
Adagio (Freie Variationen über die Lieder des Abschieds) [free variations on the Songs of Farewell, Op. 14]
3. Finale. Gemessen beinahe pathetisch – Allegro giocoso [Measured but emotional]

Before Korngold reached his twelfth birthday, his cantata Gold was acclaimed by Mahler as the work of a ‘musical genius’ and his ballet The Snowman was performed at the Vienna Opera. Korngold continued to develop thorough his teens, and in his early twenties he enjoyed phenomenal success with the opera Die tote Stadt, given a simultaneous premiere in Hamburg and Cologne in 1920. The Quintet was completed in 1921 and the first performance was in Hamburg on 16 February 1923, with Korngold at the piano. It was published in 1924 with a dedication to Gustinus Ambrosi, a sculptor who had made a bust of the 14-year-old Korngold which was destroyed in the war. There are three substantial movements. The first begins with a heroic idea that gives way to a more reflective cello solo and a delicate new theme, decked with trills (and a hint of Mahler). After extensive development, the movement ends with an impassioned recollection of the opening. The Adagio is a set of variations based on Mond, so gehst du wieder auf (Moon, thus you rise once more’ from Korngold’s Four Songs of Farewell. With its distinctive drooping intervals, the theme is treated with great ingenuity. The finale begins with a dramatic idea in octaves and a short violin cadenza that leads to the main Allegro giocoso in which Korngold is at his most uninhibited.

Nigel Simeone

About the Artists

Ensemble 360

GWILYM SIMCOCK TRIO

Gwilym Simcock, James Maddren & Conor Chaplin

Firth Hall - University of Sheffield, Sheffield

Sunday 17 May 2026, 4.00pm

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› GWILYM SIMCOCK TRIO

One of the most gifted pianists and imaginative composers on the European scene, this is a chance to experience the masterful jazz artist Gwilym Simcock up close as he returns to his improvisational jazz roots.

“[Gwilym Simcock is] a stupendous improviser and a remarkable musician all round.”

The Observer

About the Artists

Gwilym Simcock

Gwilym Simcock has carved out a career as one of the most gifted pianists and imaginative composers on the European scene. He moves effortlessly between jazz and classical music, with a ‘harmonic sophistication and subtle dovetailing of musical traditions’. Gwilym has been hailed as a pianist of ‘exceptional’, ‘brilliant’ and ‘dazzling’ ability, and his music has been widely acclaimed as ‘engaging, exciting, often unexpected, melodically enthralling, complex yet hugely accessible’, and above all ‘wonderfully optimistic’.

Gwilym’s influences are wide ranging, from jazz legends including Keith Jarrett, Chick Corea, Jaco Pastorius and Pat Metheny, to classical composers including Maurice Ravel, Henri Dutilleux, Béla Bartók and Mark-Anthony Turnage. Although principally a jazz artist, Gwilym has composed numerous works for larger Classical ensemble that combine through-composed elements with improvisation, creating a sound that is distinctive and very much his own. Read more

BIRDSONG AT DAWN

Ensemble 360

Samuel Worth Chapel, Sheffield

Sunday 17 May 2026, 5.00am

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› BIRDSONG AT DAWN

MESSIAEN Le Rouge-gorge from ‘Petites esquisses d’oiseaux’ (2’)
COUPERIN Le rossignol en amour (3’)
TELEMANN Fantasia No.2 in A minor (5’)
MESSIAEN L’Alouette Calandrelle from ‘Catalogue d’oiseaux’, 5ème Livre (5’)
RAMEAU La Rappel des Oiseaux (3’)
TELEMANN Fantasia No.7 in D (5’)
MESSIAEN Le Merle Noir (6’)
SAINT-SAËNS (arr. Richter) Volière from ‘Le carnaval des animaux’ (2’)
VIVALDI Cantabile from ‘Il Gardilino’ (3’)
MESSIAEN Le Loriot from ‘Catalogue d’oiseaux’, 1ière Livre (9’)
MARTINŮ Allegro poco moderato from Flute Sonata No.1 (5’)

Among the sheltering trees of Sheffield General Cemetery, the dawn chorus continues an ancient wordless cycle of song. Inspired by and performed in the midst of this natural wonder, discover music for flute and piano spanning three centuries, from Baroque evocations of nightingales to Messiaen’s dazzling transcriptions of wild birds.

Pause, listen and be transported, as we revive a beloved Sheffield Chamber Music Festival tradition with this dawn celebration of the music of the birds.

Post-concert Bird Walk
BBC Radio 3’s Tom McKinney – classical music’s favourite birder, and veteran of Sheffield Chamber Music Festival – leads a walk from Samuel Worth Chapel to spot and celebrate the avian musicians of the General Cemetery.
Strictly limited to ticket-holders for the Bird Song concerts.

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Telemann and his godson C.P.E. Bach had a lot in common: both studied law before pursuing music, both became key links between late-Baroque and early-Classical styles, and both composed prolifically—Telemann’s output is measured in the thousands. Alongside the reams of sacred music, instrumental suites, operas, and concerti, Telemann also wrote sets of unaccompanied instrumental fantasias, for violin, viola da gamba, harpsichord and flute.

The second Fantasia of this set of twelve has four sections (Grave, Vivace, Adagio, and Allegro), with tempo changes aligning with changes of mood or character. This Fantasia in particular is a fantastic example of Telemann’s mastery of counterpoint, managing to keep multiple lines of melody spinning concurrently through regular changes of register.

Hugh Morris 2024

Messiaën’s interest in birdsong dates back to his youth when, at the age of 14 whilst on holiday in the Aube district, he began to note down the songs of the local birds. However, it was not until 18 years later in 1941 and the Quartet for the End of Time that it appears explicitly as part of the musical material of a work.

It then appears in many of his compositions in a subsidiary role until the Réveil des oiseaux (1953) and the Catalogue d’oiseaux (1956–8); in the latter he also uses sonorities and harmonies to suggest various sounds of nature, or to establish atmosphere.

At first hearing there appears to be a vast amount of material in each of the 13 pieces in the Catalogue, only a small amount of which recurs in a closely related form. However, closer familiarity reveals that different appearances of the bird’s song are related by their rhythmic and melodic shape.

In L’allouette calandrelle (The short-toed lark) the music is drawn from the various songs of larks in the Crau wilderness of Provence. It’s a hot July afternoon and the twittering of the lark is answered by a chorus of grasshoppers, cries of the kestrel and the plaintive call of the quail.

Huntingdon Philharmonic Orchestra

Jean-Philippe Rameau (1683–1764) published his first collection of harpsichord pieces in 1706 and further collections appeared in the 1720s. Though widely admired at the time, these works lapsed into obscurity and it took their rediscovery at the end of the nineteenth century, when a handsome edition, prepared by Camille Saint-Saëns, was published by Durand in 1895. Rameau’s collections mostly comprise dance movements, such as the two Rigaudons and ‘Double’ from the 1724 volume of Pièces de clavecin. This was also the source of one of his most celebrated imitative pieces, Le rappel des oiseaux with its evocations of chirruping birdsong, and of Les tendres plaintes, a more subtle evocation of melancholy.

Nigel Simeone

Le Merle Noir – The Blackbird – was composed in March 1952 as the test piece for the flute class at the Paris Conservatoire. Messiaen took the opportunity to make an important stylistic departure in this work: it was the first of his pieces to attempt a detailed depiction of a specific named bird. The first performances – in June 1952 – were given at the flute concours by the most promising members of Gaston Crunelle’s flute class that year. One of them was the British flautist Alexander Murray, who shared his memories of the piece in with the present writer:

“We saw it for the first time four weeks before the concours and then dissected it four times a week with Gaston Crunelle … Noël Lee, a pupil of Nadia Boulanger, was our accompanist, and was present daily for the last week. He had analysed the last section and demonstrated the rhythmic permutations – which did not make life easier. However, his utter reliability made memorising less of a problem. We all played from memory. … I was awarded a premier prix (I think the first British student to be so lucky). Messiaen was present in class at least once, as I remember, and of course at the concours.”

Allegretto poco moderato
Adagio
Allegretto

Martinů composed this sonata in less than two weeks, between 4 and 16 May 1937 while he was living in Paris. The work is dedicated to Blanche Honegger, a violinist who studied with Adolf Busch and who later married the pianist Louis Moyse. With his father, the flautist Marcel Moyse, they gave the first performance of Martinů’s sonata on French Radio on 1 July 1937. (Blanche Honegger Moyse later moved to the United States and became a much-admired conductor. She died in 2011 at the age of 101). Martinů had moved to Paris in the 1920s and he completed his studies there with Albert Roussel. With his homeland under threat from Nazi invasion, this sonata has musical characteristics that reflect a love of his homeland including stylised polka rhythms and turns of phrase typical of Moravian folk music. When German forces occupied Paris, Martinů fled to the United States where he lived until 1953. Shortly after emigrating, he was asked by the New York Herald Tribune about his most important musical influences and he listed Bohemian and Moravian folk music, the English madrigal and the music of Debussy. Elements of all these can be heard in this three-movement work

About the Artists

Ensemble 360

BIRDSONG AT BREAKFAST

Ensemble 360

Samuel Worth Chapel, Sheffield

Sunday 17 May 2026, 7.30am

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› BIRDSONG AT BREAKFAST

MESSIAEN Le Rouge-gorge from ‘Petites esquisses d’oiseaux’ (2’)
COUPERIN Le rossignol en amour (3’)
TELEMANN Fantasia No.2 in A minor (5’)
MESSIAEN L’alouette Calandrelle from ‘Catalogue d’oiseaux’, 5eme Livre (5’)
RAMEAU La Rappel des Oiseau (3’)
TELEMANN Fantasia No.7 in D (5’)
MESSIAEN Le Merle Noir (6’)
SAINT-SAËNS (arr. Richter) Volière from Le carnaval des animaux (2’)
VIVALDI Cantabile from ‘Il Gardilino’ (3’)
MESSIAEN Le Loriot from ‘Catalogue d’oiseaux’, 1iere Livre (9’)
MARTINŮ Allegro poco moderato from Flute Sonata No.1 (5’)

Pause, listen and be transported, as we revive a beloved Sheffield Chamber Music Festival tradition with this dawn celebration of the music of the birds.

Hugh Morris 2024

Huntingdon Philharmonic Orchestra

Nigel Simeone

Allegretto poco moderato
Adagio
Allegretto

About the Artists

Ensemble 360

CROSSCURRENTS: GWILYM SIMCOCK & FRIENDS

Gwilym Simcock, Claire Booth, Rob Buckland & Ensemble 360

Crucible Theatre, Sheffield

Saturday 16 May 2026, 7.15pm

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› CROSSCURRENTS: GWILYM SIMCOCK & FRIENDS

DEBUSSY Children’s Corner (30’)
RAVEL Pavane pour une infante défunte (arr. Buckland)
PURCELL O Solitude, My Sweetest Choice (6′)
FAURÉ Au bord de l’eau (4’)
Après un rêve (3’)
DEBUSSY Nuits d’étoiles (2’)
SCHOENBERG Nun sag ich dir zum ersten Mal (4’)
VAUGHAN WILLIAMS Infinite Shining Heavens (2’)
LEVENT/HEYMAN Blame It On My Youth (4’)
GRAINGER Bold William Taylor (4’)
Twa Corbies (3’)
Barb’ra Ellen (6’)
WEILL My Ship (4’)
GRIEG Haugtussa Op.67 III. Blåbaer-Li (2’)

All music arranged by Gwylim Simcock, unless stated.
Due to the improvisational nature of this concert, this programme may be subject to change.

Gwilym Simcock, the “jaw-droppingly exciting” pianist (The Guardian) and jazz superstar is celebrated for his ability to move effortlessly between jazz and classical music.

For one night only, Gwilym and his band of incredible jazz musicians are joined by world-class classical artists for what promises to be a hugely entertaining evening. His phenomenal talent breathes new jazz-inspired life into award-winning makeovers of classical music. This thrilling evening gives a fresh take on Debussy’s ‘Children’s Corner’ and other classics.

Gwilym has toured extensively with the cream of international jazz artists including Kenny Wheeler, Dave Holland and Pat Metheny. His high-profile collaborations with the classical world include a rapturously-received late-night BBC Prom with the classical virtuoso Nigel Kennedy, performing a jazz-infused version of Vivaldi’s Four Seasons.

In partnership with Sheffield Jazz

“The opportunity to collaborate with Gwilym Simcock, a jazz musician steeped in classical repertoire, is a heady one indeed. As a school pianist, my efforts to perform Debussy’s Children’s Corner fell rather flat – so I’m delighted to leave this iteration to the professionals! Song repertoire is all about interpretation.. and I’m so excited to be a part of these new transcriptions. Jazz infused Schoenberg … what’s not to like!!” Claire Booth, 2026

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“Gwilym Simcock’s prodigious creations on the piano straddle the border between classical and jazz to mesmerising effect… a stupendous improviser and a remarkable musician all round.”

The Observer

About the Artists

Gwilym Simcock

Claire Booth

Rob Buckland

Rob Buckland has crafted a career around his primary work as a saxophonist that defies categorisation. Moving effortlessly between genres, performing as classical soloist, chamber musician, contemporary specialist and improviser, with an international reputation as an insightful and forward-thinking educator. Renowned for a highly distinctive, original sound, with real personality and projection, combined with an open-minded approach to repertoire and performance styles, his work takes him around the globe in an astonishing variety of musical settings.

Ensemble 360

FAMILY CONCERT: IZZY GIZMO

Lucy Drever & Ensemble 360

Crucible Theatre, Sheffield

Saturday 16 May 2026, 11.00am

Tickets:
£13
£7 UC, PIP & DLA
£5 Under 16s

Past Event

Home› What's on› FAMILY CONCERT: IZZY GIZMO

RISSMANN Izzy Gizmo (60’)

By popular request, Izzy Gizmo is back! Perfect for 3–7 year-olds, this delightful family concert is based on the best-selling children’s book ‘Izzy Gizmo’ by Pip Jones, illustrated by Sara Ogilvie.

The book tells the enchanting story of an intrepid young inventor who puts her talents to work to rescue a crow that can’t fly. This family concert brings Izzy’s mechanical marvels and infectious creative spirit to life.

Original music by Paul Rissmann features instruments including strings, woodwind, horn and piano, and you might even spot the musicians playing pots, pans, whistles and household items!

Together with story-telling and visuals from the book, this concert is a great introduction to live music for children. It’s full of wit, invention, songs and actions, and plenty of opportunities to join in.

About the Artists

Lucy Drever

Lucy Drever is a presenter, workshop leader and narrator. She regularly presents and leads workshops with some of the leading orchestras, arts venues and music charities in the UK including the Philharmonia Orchestra, Wigmore Hall and the BBC Scottish Symphony Orchestra of which she is Associate Artist. She has recently narrated concerts for Lambert Jackson at the London Palladium and is the Head of Creative Learning at the Benedetti Foundation. Furthermore, she was recently appointed trustee of the Samuel Gardner Memorial Trust.

Lucy works in a variety of settings including arts venues, schools, Early Years spaces, hospitals, conservatoires and prisons. As well as education consultancy she works across various industries, helping people with their presenting and public speaking skills.

Ensemble 360

DVOŘÁK PIANO QUINTET

Ensemble 360

Upper Chapel, Sheffield

Saturday 14 March 2026, 7.00pm

Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s

Past Event

Home› What's on› DVOŘÁK PIANO QUINTET

SUK Piano Trio (15’)
L BOULANGER D’un matin de printemps (4’)
GORDON Piano Quintet ‘Kintsugi’ (18’) Co-commission with Presteigne Festival
DVOŘÁK Piano Quintet No.2 (40’)

Lyrically expressive Czech-folk-inspired music opens and closes this concert of works for piano and strings, with Dvořák’s much-loved Piano Quintet No.2 providing a joyful conclusion. Michael Zev Gordon’s delicate and enchanting Piano Quintet ‘Kintsugi’ (a Music in the Round co-commission with Presteigne Festival), is named after the Japanese technique of repairing broken pottery with gold to make it stronger than the original, and follows Lili Boulanger’s ravishing piano trio, ‘On a Spring Morning’.

Pre-concert Q&A, 5.30pm – 6.15pm
Join us for a pre-concert discussion with the musicians of Ensemble 360. Tickets: £5 / free to all ticket-holders, though booking is required.

Allegro
Andante
Vivace

Suk composed the earliest version of his Piano Trio in 1889 during his first year as a composition pupil at the Prague Conservatory, originally in four movements. A year later, he revised while in the class of Karel Stecker (to whom the trio is dedicated), and the first

performance was given at an evening of music by student composers on 15 January 1891. Suk completed the revision process once he had joined Dvořák’s composition class (he later married Dvořák’s daughter), completing the definitive version in spring 1891. The opening of the Allegro is muscular and impassioned; its bold opening theme gives way to a more tender contrasting theme and these two characterful ideas form the basis of what follows. Even though Suk was still a student, his handling of form is impressively confident and closely-argued. He brings this admirably compact movement to an affirmative close in C major. The second movement is marked Andante and it resembles a gentle folk dance, reaching a dramatic climax before moving into a tranquil coda, still dominated by the dotted rhythms that have permeated the whole movement. The third movement, marked Vivace, is a vigorous finale, with some enchanting moments of repose. A change from C minor to C major sets up the coda which brings the work to an impressive conclusion.

Lili Boulanger – younger sister of the great teacher Nadia Boulanger – was an astonishingly gifted child: Fauré (who later taught her composition) discovered that she had perfect pitch when she was two years old, and at the age of 19, Lili became the first woman to win the Prix de Rome for musical composition, but throughout her life she was dogged by ill health – the consequence of pneumonia when she was a child – and had to return early from Rome.

D’un matin de printemps exists in three versions: for violin or flute and piano, for orchestra, and for piano trio. The autograph manuscript of the trio version is headed ‘Pièces en trio’ alongside D’un soir triste, which was composed at the same time. Apart from a poignant and beautiful setting of the Pie Jesu (possibly intended as part of a projected Requiem) these are the last two compositions of Boulanger’s tragically short creative life. She died at the age of 24 leaving a remarkable legacy including some memorable Psalm settings, the marvellous song cycle Clairières dans le ciel and a handful of instrumental works such as this trio.

Kintsugi is a Japanese art form which involves repairing broken pottery. Lacquer, most often of gold, is used to join the pieces together, to emphasize the cracks, not to hide them. The exquisite results show us that beauty in art – and, by extension, composure in our lives – can be found precisely by embracing imperfection and fragmentation.

For a long time, I have been making musical forms out of fragments, and in my new piano quintet, there are thirteen short movements, which run into each other. There are a number of external musical references, including a Yiddish song, baroque textures and a distant waltz, which jostle with a range of other moods, from gentle to pained.

But there is also one unchanging harmony that recurs repeatedly, at once separating and joining the fragments, my musical equivalent of the kintsugi lacquer. I hope this harmony not only helps to create beauty and repose, but is also a kind of response to the the ancient rabbinical saying that threads its way through the titles of movements 1, 4, 8, 10 and 13.

Movements:

If I am not for myself…
Burning through
Fluttering
…who will be for me?
Tender, submerged
Once Again…
Crying out
If I am only for myself, what am I?
Fleeting
And if not now…
Floating
In Pieces
…when?

Allegro, ma non tanto
Dumka. Andante con moto – Vivace – Andante con moto
Scherzo. Furiant – Molto vivace
Finale. Allegro

Dvořák composed his great A major Piano Quintet in 1887 (a much earlier quintet from 1872 is in the same key) and it was described by Otakar Šourek as one of ‘the most delightful and successful works’ in the whole chamber music repertoire. From the spacious cello theme that opens the quintet, Dvořák shows the seemingly effortless spontaneity of a composer at the height of his powers. The second theme turns the mood more wistful, and the music oscillates between melancholy and warmth, culminating in a jubilant climax. The second movement is a Dumka, with slow outer sections based on a melancholy tune, and a quick central section derived from the same musical idea. The Scherzo – described by Dvořák as a Furiant – begins with one of his most enchanting quick melodies and this is followed by two more: an undulating tune and another of folk-like simplicity, before the opening idea returns. The central Trio provides an oasis – a tune in long notes over which Dvořák introduces fragments of the main theme. The opening melody of the Finale dominates much of what follows. Near the close, a brief fugal section leads to a moment of tranquillity before the final dash to the end.

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“It was incredible to see professionals and children perform together… To experience opera in such an accessible way [was] really amazing, innovative and inspiring. I found it incredibly moving.”

Audience feedback from ‘The Monster in the Maze’

About the Artists

Claire Booth

Ensemble 360

STRAUSS Richard, Sextet from Capriccio

SARGEN Ellen, Fallen, felled

SIBELIUS Jean, En Saga Op.9

WAGNER Richard, Siegfried Idyll

STRAUSS Richard, Four Last Songs

About the Artists

Ensemble 360

Claire Booth

BEETHOVEN, Ludwig van Violin Sonata in F, Op.24 ‘Spring’

BEETHOVEN Ludwig van, String Quartet in C minor Op.18 No.4

BEETHOVEN Ludwig Van, Septet in E flat Op.20

About the Artists

Ensemble 360

Feldman & Beckett

“a gift of theatre … dazzling ”

WhatsonStage (on Landmark Productions’ Happy Days)

“There isn’t a hint of sentimentality in Vicky Featherstone’s delicately calibrated production of Samuel Beckett’s monologue about mortality.”

The Guardian

About the Artists

Siobhán McSweeney

Jonjo O’Neill

Ensemble 360

George Morton

Vicky Featherstone

About the Artists

Claire Booth

WEBER Carl Maria von, Clarinet Quintet Op.34

MOZART Wolfgang Amadeus, Oboe Quartet K370

KORNGOLD Erich Wolfgang, Piano Quintet in E major Op.15

About the Artists

Ensemble 360

“[Gwilym Simcock is] a stupendous improviser and a remarkable musician all round.”

The Observer

About the Artists

Gwilym Simcock

TELEMANN Georg Philipp, Fantasia No. 2 in A Minor

MESSIAEN Olivier, L’alouette Calandrelle from ‘Catalogue d’oiseaux’

RAMEAU Jean-Philippe, Le Rappel des oiseaux, Rigaudons I, II & Double, Les tendres plaintes

MESSIAEN Olivier, Le Merle Noir

MARTINŮ Bohuslav, Sonata for flute, violin and piano H254

About the Artists

Ensemble 360

TELEMANN Georg Philipp, Fantasia No. 2 in A Minor

MESSIAEN Olivier, L’alouette Calandrelle from ‘Catalogue d’oiseaux’

RAMEAU Jean-Philippe, Le Rappel des oiseaux, Rigaudons I, II & Double, Les tendres plaintes

MESSIAEN Olivier, Le Merle Noir

MARTINŮ Bohuslav, Sonata for flute, violin and piano H254

About the Artists

Ensemble 360

“Gwilym Simcock’s prodigious creations on the piano straddle the border between classical and jazz to mesmerising effect… a stupendous improviser and a remarkable musician all round.”

The Observer

About the Artists

Gwilym Simcock

Claire Booth

Rob Buckland

Ensemble 360

About the Artists

Lucy Drever

Ensemble 360

SUK JOSEF, Piano Trio in C Minor, Op.2

BOULANGER Lili, D’un matin de printemps

GORDON Michael Zev, Piano Quintet ‘Kintsugi’

DVOŘÁK Antonín, Piano Quintet No.2 in A Op.81

About the Artists

Ensemble 360