With major event restrictions still to be lifted to a point where we can perform for you in the concert hall, we regret that this MSO performance will not proceed.

We are committed to ensuring the longevity and sustainability of the MSO, and we thank you for your patience, understanding and support during this time. We will, however, keep the music going! We invite all music-lovers to enjoy free online concerts via our YouTube channel.

2020 has been one of the most difficult years in the MSO’s history. What’s more, the financial effects of COVID-19 will be felt even more in 2021. If you hold a ticket to this performance, instead of requesting a refund, we ask you to consider donating the value of your ticket to enable us to live stream more free events and continue the mission of the MSO, to enrich lives through music. Please email our Box Office prior to the performance date at if you would prefer to do this and we thank you in advance if you choose to donate during this uncertain period. MSO gift cards (valid for 3 years) are also available.

Refunds will automatically be processed to the credit card used to make the purchase on the scheduled concert date. Please note, refunds may take 10 business days to arrive in your account.

Further information can be found on the Cancelled and Rescheduled Concerts page


Christopher Moore viola / violin
Prudence Davis flute
Yinuo Mu harp


Ibert Deux Interludes
Gubaidulina Garden of Joys and Sorrows
Tōru Takemitsu And then I knew ’twas wind
Debussy Sonata for flute, viola and harp

About the performance

A delicate balance.

The richness and complexity of the relationship between the flute, viola and harp is explored in this chamber concert of 20th century composers.

The exquisite combined sound of these three instruments has an intimacy, rich timbre and sonorous complexity that is both powerful and playful. It was something Claude Debussy knew, composing his sonata for flute, viola and harp in 1915. It is a stunning and supple piece, capable of long mournful phrases and sudden flights of movement.

Experimental Russian composer Sofia Gubaidulina has a widely differing approach with her Garden of Joys and Sorrows, a piece that captures an otherworldly atmosphere through a series of musical flourishes, often at the limits of the instruments’ ranges. It is daring and strangely beautiful.

Frenchman Jacques Ibert was a composer who refused to tie himself to any one school of compositional thought, resulting in an eclectic output that refuses straight categorisation. His music was capable of frivolity, but also deep tenderness. Both can be heard in his Deux Interludes, composed in 1946.

And then I knew ’twas wind, by one of the 20th century’s most important Japanese composers, Tōru Takemitsu, is another striking argument for this combination of instruments. Delicate and intricate, it was influenced by the Debussy, but has wonderfully idiosyncratic signature of its own.

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