Past concerts
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28 November 2018
Liadov Eight Russian Folk Songs Prokofiev Violin Concerto No. 2 in G minor, Op. 63 Tchaikovsky Symphony No. 5 in E minor, Op. 64 Wednesday 28 November 2018, 7:30pm
St James's Church, 197 Piccadilly, London, W1J 9LLLeonard Elschenbroich, conductor
Nicola Benedetti, violinIn what promises to be a treat of a concert, we are thrilled to welcome back virtuoso Nicola Benedetti after last season’s scintillating performance of Mendelssohn’s Violin Concerto to play Prokofiev’s sublime Second Violin Concerto under the direction of Leonard Elschenbroich, who will be making his CCO debut. Tchaikovsky’s triumphant Fifth Symphony and Lliadov’s Eight Russian Folk Songs make-up a wonderfully diverse Russian-themed programme.
Tickets: £25, £20, £15 (concessions £3 off)
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5 October 2018
Nielsen Helios Overture, Op. 17 Grieg Piano Concerto in A minor, Op. 16 Sibelius Symphony No. 6 in D minor, Op. 104 Sibelius Symphony No. 7 in C major, Op. 105 Friday 5 October 2018, 7:30pm
St James's Church, 197 Piccadilly, London, W1J 9LLMichael Seal, conductor
Chris Hopkins, pianoTickets: £18, £15, £12 (concessions £3 off)
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14 June 2018
Berlioz Le carnaval romain Strauss Horn Concerto No. 1 in Eb major, Op. 11 Mahler Symphony No. 10 (ed. Cooke 1910) Thursday 14 June 2018, 7:30pm
Queen Elizabeth Hall, Southbank CentreMichael Seal, conductor
Martin Owen, hornTo reserve tickets
Phone: 0844 847 9910
Southbankcentre.co.ukWe open our return to the Queen Elizabeth Hall, with a performance of Berlioz's dashing Roman Carnival Overture, followed by Richard Strauss’s equally exuberant, and one of the most-demanding solo works for the horn, the Horn Concerto No. 1. The centerpiece of the concert is a performance of Mahler’s Symphony No. 10. The symphony was written in the summer of 1910, and was Mahler’s final composition. At the time of his death, the work was substantially complete in the form of a continuous draft, but not fully elaborated or orchestrated. After Mahler's death there was no immediate attempt to complete the work for performance. The various realisations produced by Deryck Cooke have, since the mid-1960s, become the basis for most performances and recordings and it is the Cooke version of the complete Symphony you will hear.
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19 May 2018
Berlioz Béatrice et Bénédict Overture Prokofiev Piano Concerto No. 3, Op. 25 in C major Brahms Symphony No. 4, Op. 98 in E minor Saturday 19 May 2018, 7:00pm
St James's Church, 197 Piccadilly, London, W1J 9LLMichael Seal, conductor
Chris Hopkins, piano
Buy tickets online nowTickets: £17, £15, £10 (concessions £3 off)
Tickets will be available to purchase at the door before the concert starts.
Berlioz captures the essence of Shakespeare’s comedy, Much Ado About Nothing, in this delightful Overture, much of it in the playful introduction, where the silences are as witty as the dialogue between woodwind and strings. It is a sparkling introduction to the tale of love gone wrong–and love gone right.
The exuberant, brash Piano Concerto No. 3 drew thunderous applause from American audiences in 1921 but it received rather tepid reviews. Neither in Chicago nor in subsequent New York performances did the concerto arouse much enthusiasm. Prokofiev said the American public "did not quite understand the work." Nevertheless, it went on to become one of the half a dozen or so most popular piano concertos of the entire twentieth century.
Similarly, the premiere in 1885 of Brahms’s Symphony No. 4 had a cool reception. Audiences found the symphony’s strangeness difficult to deal with on first acquaintance. Its strangeness lies in its combination of modern (for 1885) harmonies and suggestions of old music (in particular the passacaglia in the final movement). Now the symphony is firmly a concert favourite.
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16 March 2018
Mendelssohn Overture A Midsummer Night’s Dream Beethoven Symphony No. 1, Op. 21 Mozart Overture Così fan tutte Mendelssohn Violin Concerto in E minor Friday 16 March 2018, 7:30pm
St James's Church, 197 Piccadilly, London, W1J 9LLEamonn Dougan, conductor
Nicola Benedetti, violinTickets: £17, £15, £10 (concessions £3 off)
A limited number of tickets will be available to purchase at the door before the concert starts.
Beethoven's Symphony No. 1, seen from all points of view, is a classical one, strongly anchored in the Viennese musical life of the time, especially Mozart’s last symphonies. Knowing their Mozart and Haydn well, his contemporaries referred to this symphony as “masterpiece" repeatedly and praised the work's "originality”.
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23 January 2018
Stravinsky Dances concertantes Haydn Cello Concerto No. 1 in C major Mozart Symphony No. 40 in G minor, K550 Tuesday 23 January 2018, 7:30pm
St Martin-in-the-Fields, Trafalgar Square, London WC2N 4JJMichael Seal, conductor
Richard Birchall, cello
Buy tickets online nowTickets: £22, £18, £14 (concessions £3 off)
To reserve tickets
Email: tickets@corinthianorchestra.org.ukDanses Concertantes looks and sounds like a ballet score; officially, however, it is a concert piece. It hails from Stravinsky’s neoclassical period when he worked to establish an artistic link with the formal and contrapuntal structures of eighteenth-century music. Written in Hollywood in the winter of 1941-1942, the work received its premiere in Los Angeles in the February.
Haydn's Cello Concerto No. 1 in C Major, composed around 1761-1765, was presumed lost for two hundred years until in 1961, a copy of the score was discovered at the Prague National Museum. The Concerto has since become a staple of the cello repertoire.
We conclude this performance with Mozart’s Symphony No. 40, which needs no introduction. The summer of 1788, when this, along with his other last two symphonies, were composed, was not a good time for Mozart. He was beset with by financial troubles, declining popularity, illness of his wife, and the failure of his opera, Don Giovanni. Notwithstanding this, he completed all three symphonies in lightning speed over a ten-week period. For some time, it was believed that Mozart never heard a performance of No. 40, although today there is some evidence that there was at least one performance during his lifetime conducted by Salieri.
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