Pocket Sinfonia is reinterpreting orchestral masterpieces with the fresh spontaneity and intimacy of a chamber group.
This season includes debuts at WDR Alte Musik and The National Centre for Early Music in York, another appearance at BREMF, and performances of our ‘Fate’ and ‘Inspired by Shakespeare’ programmes for concert series in the UK. We are also rescheduling the 2020 tour of our ‘Pocket Opera’, Mozart’s Cosi fan Tutte, in collaboration with Opera on the Move for 2022.
Using both modern and period instruments, Pocket Sinfonia was formed to recreate the atmosphere of wonderful 19th-century living room parties, where the intimacy of chamber music performance could be applied to orchestral-scale pieces usually heard in a much larger setting. This was made possible via various transcriptions by composers of the 19th century, including Hummel and Clementi. Pocket Sinfonia has since also made their own arrangements, applying spontaneity and vigour to creations that are not merely smaller versions of great pieces, but are new and artistic in their own right.
Pocket Sinfonia was a REMA (European Early Music Network) Showcase Artist in 2020. They won the Audience Prize in 2019’s St Martin-in-the-Fields Chamber Music Competition and were a finalist in the London International Festival of Early Music’s Young Ensemble Competition in November 2018. Pocket Sinfonia was a selected group for the 2018/19 Brighton Early Music Festival Live! Scheme.
Pocket Sinfonia has performed across the UK and Europe including at Oslo Chamber Music Festival, European Early Music Summit, Brighton Early Music Festival (BREMF), Norway’s Mozartfestivalen, Universitetets Aula in Oslo, Asker Kulturhus, the Royal Academy of Music’s Piano Festival, and festivals including Petworth, Halesworth, Sherborne Abbey, Powderham Castle and East Devon Music Festivals.
The Telegraph’s Ivan Hewett saw Pocket Sinfonia perform in 2018 and wrote that “in terms of sheer energy, the palm must go to Pocket Sinfonia, who managed to make Mozart’s brilliant Haffner Symphony burst with the energy of an orchestra; what’s more, the little pauses from pianist Emil Duncumb infused it with a real chamber-style rhythmic pliability.”