Northern Chamber Orchestra with Colin Currie
  • Friday 17 January 2020, 7.30pm
  • The Stoller Hall
  • £27-free

Northern Chamber Orchestra welcomes the marvellously talented Scottish percussionist, Colin Currie. He’s playing an entertaining piece by contemporary Viennese composer Kurt Schwertsik, whose works are characterised by his particular exploration of tonality, musical irony and humour. Colin also partners NCO’s principal clarinet, Elizabeth Jordan, in the atmospheric Nocturne by Stephen Barlow, with whom the orchestra spent many happy years in the pit at the Buxton Festival, and who conducts the piece during the concert.

Dvořák’s Serenade, in five movements, contains a waltz, a scherzo and one of his loveliest slow movements. The high-spirited finale eventually returns to the benign calm of the opening section, giving an arch-like structure to the whole piece. Delius’ glowing harmonies and Grieg’s bracing opener make up the rest of the programme.

Northern Chamber Orchestra with Colin Currie
  • The Stoller Hall
  • £27-free

Performers

Performers

Colin Currie - percussion
Elizabeth Jordan - clarinet
Northern Chamber Orchestra

Programme

Programme

GRIEG Praeludium from Holberg Suite, Op. 40
Stephen BARLOW Nocturne for Solo Clarinet, Marimba and Strings
Kurt SCHWERTSIK Now you hear me, now you don’t, Op. 102
DELIUS Two Aquarelles
DVOŘÁK Serenade for Strings in E Op. 22

Northern Chamber Orchestra welcomes the marvellously talented Scottish percussionist, Colin Currie. He’s playing an entertaining piece by contemporary Viennese composer Kurt Schwertsik, whose works are characterised by his particular exploration of tonality, musical irony and humour. Colin also partners NCO’s principal clarinet, Elizabeth Jordan, in the atmospheric Nocturne by Stephen Barlow, with whom the orchestra spent many happy years in the pit at the Buxton Festival, and who conducts the piece during the concert.

Dvořák’s Serenade, in five movements, contains a waltz, a scherzo and one of his loveliest slow movements. The high-spirited finale eventually returns to the benign calm of the opening section, giving an arch-like structure to the whole piece. Delius’ glowing harmonies and Grieg’s bracing opener make up the rest of the programme.

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