AMERICANA: GERSHWIN AND BERNSTEIN
Matilda Lloyd & Ensemble 360
Upper Chapel, Sheffield
Saturday 3 October 2026, 2.00pm
Tickets:
£23
£14 UC, PIP & DLA
£5 Students & Under 35s
HONEGGER Intrada (5’)
HINDEMITH Concerto for Trumpet & Bassoon [string reduction] (17)’
BERNSTEIN Sonata for Clarinet and Piano (10’)
HAYDN Trumpet Concerto [string reduction] (15’)
COPLAND Quiet City [string reduction] (10’)
BEACH Romance (6’)
GERSHWIN (arr. Morton) Promenade – Walking the Dog (3’)
GERSHWIN (arr. Morton) Three Preludes (8’)
Winner of the Young Artist Category in the 2026 Royal Philharmonic Society (RPS) Awards, star trumpeter Matilda Lloyd joins Ensemble 360 for a sparkling celebration of American music, alongside some dazzling trumpet classics. Described by BBC Music Magazine as a “trumpeter extraordinaire,” and celebrated for her impeccable sound, crystalline phrasing, and exquisite control, Matilda Lloyd holds audiences spellbound through virtuosity and expressive power.
This brassy concert celebrates the brilliant sounds of the trumpet and its central place in American chamber music drawing on diverse traditions stretching back to Haydn.
Copland’s Quiet City is a portrait of the American night: a solitary walker and a bridge in fog. Beach’s Romance captures the elegance of the Boston salon, while Gershwin’s Three Preludes and whimsical Promenade encapsulate the moment jazz and European music collided, and a continent found its unique musical voice.
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.
BERNSTEIN Leonard, Clarinet Sonata
Grazioso
Andantino – Vivace e leggiero
Leonard Bernstein wrote his Clarinet Sonata on a holiday spent at Key West, Florida, in the summer of 1941, just after finishing his conducting studies with Fritz Reiner at the Curtis Institute. It was first performed in Boston on 21 April 1942 by the clarinettist David Glazer, with Bernstein at the piano. But it was another clarinettist – David Oppenheim – to whom the work was dedicated, and who gave the first New York performance, and made the first recording, both in 1943. Aaron Copland, Bernstein’s mentor, had expressed reservations about Clarinet Sonata being played in public as he thought it too heavily influenced by Hindemith, Bartók, Milhaud and Copland himself. After the Boston premiere Bernstein wrote to him: ‘Your weren’t supposed to know that the Clarinet Sonata was being done! Direct defiance of your orders. But, hell, I’ve got to hear it.’ A year later, Bernstein put it on the programme of the concert he gave with David Oppenheim at the League of Composers in New York and confessed to Copland: ‘I betrayed you by playing the Clarinet Sonata today … I felt the need to present my first League composition as a piece with a slightly larger form … and the Sonata does approach, at least, a big form. Besides … it provided a lovely excuse for having David Oppenheim come down. So you will forgive me, won’t you?’ Published the same year, Bernstein’s Clarinet Sonata, with its pastoral, rather Hindemith-like first movement and its ebullient 5/8 finale – unmistakably Bernstein – was one of the first pieces to establish his reputation.
Nigel Simeone 2014
Matilda Lloyd
