For sample concert programmes, please see the bottom of this page

Mendelssohn: Symphony No.3 (Aarhus Chamber Orchestra)

Mozart: Symphony No.29, 1st movement (Danish Sinfonietta)

Schubert: Symphony No.5, 4th movement (Danish Sinfonietta)

Sample Concert Programmes

Please find below examples of concert programmes that I have curated in the recent years

1 – A Danish Symphony [ideal for symphony orchestra]
Repertoire:  
– Mendelssohn: Symphony No.3 in A-minor, “Scottish Symphony” [1829-42]
– Matthew Grouse: En Dansk Symfoni (A Danish Symphony) [2024]
Description: After spending 2 years studying in Glasgow, I wanted to commission a companion piece to Mendelssohn’s ‘Scottish’ that dealt with the concept of nationalist music being composed by an ‘outsider’ in a contemporary context. This is a highly relevant topic in modern society and I found it meaningful to put into a musical context.

2 – Mozart’s Ancestry and Legacy [ideal for chamber orchestra]
Repertoire:
– Leopold Mozart: Symphony, Eisen B-flat 6
– Wolfgang Amadeus Mozart: Symphony No.29 in A-major
– Franz Schubert: Symphony No.5 in Bb-major
Description: I was asked to make a programme centered around Mozart’s 29th symphony and was quickly drawn to a fact that I had recently discovered: That the Symphony No.2 in Bb-major, originally credited to Wolfgang Amadeus Mozart, was actually composed by his father. I wanted to pair these two pieces together, with a third piece that was also linked to Mozart in one way or another, but written after his lifetime. Schubert’s 5th, which is widely considered as an homage to Mozart, was the obvious choice.

3 – The Heavenly Life [ideal for philharmonic orchestra]
Repertoire:
– Wolfgang Amadeus Mozart: Exsultate, Jubilate
– Gustav Mahler: Symphony No.4
Description: When I organised to perform Mahler 4 in Glasgow Cathedral with fellow students in 2023, I was faced with the challenge that I believe many others have also faced, to find a thoughtful second piece to finish the programme. After many considerations, especially over romantic repertoire for the same big orchestra size, I settled for Mozart’s Exsultate Jubilate for several reasons: First of all, of course, it utilised the singer and anticipated her later appearance in the symphony, but it also emphasised the lighter aspects of Mahler’s music and inspirations, and it served as a graceful way to set the mood for a lengthy masterpiece. At the same time, it did not exhaust the majority of the wind players who were able to give Mahler their 100%.