Sofia Patterson-Guitterrez, flute

Emily Long, oboe

Raj Bhaumik, clarinet

Chloe Harrison, French horn

Tom Donkin, bassoon

Sunday 27^th September 2026

3.00 pm

Runtime: 120 minutes

Colyer-Fergusson Hall

The Gulbenkian Arts Centre

University of Kent

“Dogoda Wind Quintet”

Tillett Trust Debut Artists 2026-28

The Dogoda Wind Quintet was formed at the Royal Academy of Music in 2023 after all five members had previously played together as principals in the National Youth Orchestra. The Quintet comprises Sofía Patterson-Guitterrez, flute; Emily Long, oboe; Raj Bhaumik, clarinet; Chloe Harrison, French horn and Tom Donkin, bassoon. They are delighted to be chosen as Tillett Trust Debut Artists from 2026-28 and are excited about their forthcoming opportunities with Tillett. Dogoda are passionate about educating the next generation of musicians, and through 2025-26 will support the Poole Society for Young Musicians, following work as visiting ensemble to the Royal Academy of Music’s Junior Composition Department. They have already enjoyed touring diverse programmes across London and the wider south of England, and Southern Scotland, such as in the Brighton Dome at Brighton Corn Exchange.

The Dogoda Wind Quartet will bring a programme of wondrous wind music to Canterbury. Their detailed programme and notes will be available shortly, while tickets are available now through the Link to the Gulbenkian Box Office below. This summer they have a concert tour of the Highlands and Islands of Scotland, keep track on their website HERE.

Programme

Cécile Chaminade (1857-1944): Air de ballet op.30 (1884)

Arranged by Isaac Prince for Wind Quintet (5')

Isaac Prince writes: “[Chaminade’s music] has a certain feminine daintiness and grace, but it is amazingly superficial and wanting in variety…. On the whole this concert confirmed the conviction held by many that while women may some day vote, they will never learn to compose anything worthwhile. All of them seem superficial when they write music.” – New York Post, 1908

Despite the discrimination she faced due to being a woman, Cécile Chaminade (1857–1944) was a composer and pianist who achieved great success during her lifetime. She was a favourite of Queen Victoria, performing for her several times, with one of her organ preludes being performed at her funeral. Although she was denied formal education at the Paris Conservatoire due to her father’s objections, she studied privately and went on to write over 400 works, notably piano miniatures like “Automne” and “Scarf Dance”, the latter reportedly selling around five million copies. Internationally acclaimed, she performed across Europe and the United States, inspiring other women who formed “Chaminade Clubs” in her honour. In 1913, she became the first female composer awarded the Légion d’Honneur.

Nearly two hundred of Chaminade’s compositions were for piano, most of which can be categorised as character pieces or song mélodies. As a concert pianist, she frequently showcased her own works in performances, including the enchanting “Air de Ballet, Op. 30.” "This delightful and vibrant piece not only exemplifies Chaminade’s virtuosity as a pianist but also translates beautifully into a challenging and engaging arrangement for wind quintet" (Isaac Prince).

Sally Beamish (b1956): Adagio and Variations after Mozart, for Flute, Cor Anglais, Clarinet, Horn and Bassoon (2011) (10')

Sally Beamish is one of the UK’s most distinguished composers with a catalogue of works for soloists such as Hakan Hardenberger, Martin Frost, Steven Isserlis and Janine Jansen. Originally a viola player in the London Sinfonietta and Academy of St Martin in the Fields, she moved to Scotland in 1990 to focus on composition. Her output contains many pieces for saxophone(s) and for viola, in addition to three oratorios and many concertos.

This is her second wind quintet, with the first, “The Naming of Birds”, written for the Reykjavik Wind quintet in 2001. This work however, was initially commissioned purely as an arrangement rather than a fresh composition. The composer writes:

“When the New London Chamber Ensemble asked me to make an arrangement of this Mozart ‘Adagio’, I was much taken with the glass harmonica performances I found on Youtube! I wanted to try and capture some of the strange beauty of the instrument. I used cor anglais rather than oboe to give a warm, dark quality to the quintet - but didn't want to add anything of my own, as the music is so complete. However, when I'd finished, I had the impulse to launch into a set of variations, and here I cast each of the five instruments in turn as a soloist, sometimes with a duo partner. The Adagio theme returns at the end, with each player adding a fragment from its own variation.”

The piece was first performed at the Wigmore Hall, London, by the New London Chamber Ensemble, in July 2011.

Samuel Barber (1910-1981): Summer Music op.31 (1956) (12’)

The genesis of Barber’s “Summer Music” was a commission from the Detroit Symphony orchestra for a mixed chamber work, in which initial material evolved into a more standard wind quintet setup after inspiration from the New York Woodwind Quintet. This is Barber’s only chamber work featuring woodwind other than the flute Canzone, derived from his piano concerto. Barber’s own words about it representing the languid side of summer place it alongside Vivaldi’s musical concept of the season. There is a notable story that apparently Barber was composing the work outside on a summer’s day, when a gust of wind blew his manuscript score pages to the group. After picking them up, he stuck with the random order that they were now assembled! Whilst apocryphal, this story does highlight the eccentric jumps between different sections that characterise the work. This modernism of structure, nothing like the continuous flow of his infamous “Adagio for Strings” is in contrast to Barber’s tonal lyricism, which the New Grove describes him as having a particular commitment to in the face of a century of modernism that sought to leave romanticism behind. Barber’s partner was the notable opera composer Gian Carlo Menotti.

INTERVAL

Anton Reicha (1770-1836): Wind Quintet in E-Flat Major op.88 no2

(1811) (16’)

1. Lento- Allegro Moderato 6’30’’
2. Scherzo 3’
3. Andante grazioso 3’30’’
4. Finale, Allegro molto 3’

Anton Reicha could be considered most notable for his tuition of Berlioz, Liszt and Franck at the Paris Conservatoire. However, whilst he was not the first composer to write for the wind quintet, his total set of 24 works for the group elevated the genre to a new prominence. Born in poverty in Prague, his musical development flourished after he ran away from the custody of his mother to live with his uncle, a cellist, and he studied the violin, flute and piano. Reicha fled Bonn, where he had played in the court orchestra with Beethoven, and later Vienna, when they were each respectively attacked by Napoleon. It was arguably ironic, therefore, that he ended up in Paris as a naturalised French citizen. It is from his French period that his wind quintets stem, with the inspiration being the players Joseph Guillou on flute; Gustave Vogt on oboe; Jacques-Jules Bouffil on clarinet, Louis-François Dauprat on horn and Antoine Henry on bassoon, with Reicha having taught composition to all of them but Bouffil at the conservatoire.

Of his 24 quintets, this E-Flat major example is now the most frequently played. The first movement’s initial theme begins with a rising tonic arpeggio in the bassoon, appearing as the inverse of the opening of Bach’s Fourth Cello Suite Prelude in the same key. Prominence is later given to a quotation from Beethoven’s early horn sonata, which, whilst not living rent-free in our heads now, Reicha could have been expected to be recognised by audiences of his day. The key theme of the Scherzo is formed of a question from a falling oboe figure answered by a rising scale in the clarinet and bassoon. An almost identical concept, but with the flute as the questioner, opens the 6/8 finale. In between them, the third movement is a more tranquil theme and variations.

Pavel Haas (1899-1944): Wind Quintet op.10 (1929) (13’30’’)

1. Preludio 3’
2. Preghiera 4’
3. Ballo Eccentrico 2’30’’
4. Epilogo 4’

Many of the best-known Czech composers, such as Dvořák, Smetana, Martinu and Suk, originated from the part of the country known as Bohemia. Like his teacher, Leos Janacek (1854-1928) Haas came from the eastern region, further to the east of Moravia, indeed, he was born in the town of Brno, famously depicted in Janacek’s “Sinfonietta”. With the folk style of the region forming a key influence on their respective soundworlds, Haas’s work also owed much to his Jewish heritage, with synagogue chant present in his output. After the Nazi occupation of Czechoslovakia from 1938, Haas’s music was banned, and he was sent to the Theresienstadt Ghetto. Theresienstadt (also known as Terezin) has become known for the relatively rich cultural scene that endured during the war amongst the Jewish community imprisoned there, despite the thousands of deaths from disease and malnutrition. Haas was later deported to Auschwitz, where he was murdered in the gas chambers.

Haas’s early wind quintet, his first work to achieve success outside Czechoslovakia, is structured as a suite, with movements contrasting despite the consistency of minor tonalities. None of the movements contain enough stability of metre to be considered “dances” - this is not a neoclassical work. The first movement is enigmatically marked “Andante, ma vivace” calling for a gritty tension without the pulse ever flowing too much. Surging articulated interjections, similar to those used in Janacek’s “The Fiddler’s Child”, abound. Whilst the second movement’s title translates to “Prayer”, there is no sense of sustained tranquillity one might expect from such a name. Unison passages with mordent inflections  show the influence of traditional chants. The third movement notably features the E-Flat (piccolo) clarinet. Previous editions of the work transposed the part for the regular B-flat clarinet in order to accommodate Haas writing one phrase well below the range of the E-flat instrument, but modern performances give the phrase to the French horn instead, to allow the composer’s desired contrast through the use of the higher-pitched and more raucous of the clarinet family. The Epilogue begins gently, diffusing the spikiness of earlier movements, but quickly ratchets up, ending passionately and defiantly.

Valerie Coleman (born 1970): Tzigane (2011) (9')

Valerie Coleman is an African-American flautist and composer from Kentucky. In 1997 she founded Imani Winds, a quintet dedicated to diversifying the repertory and exploring social change through music. She has written many works for them, and also notably for the Metropolitan Opera, Philadelphia Orchestra and Orchestra of St Luke’s. In 2020 she was named Performance Today’s Classical Woman of the Year.

The word “Tzigane” means “Gypsy” and was introduced to the musical lexicon by Maurice Ravel’s 1924 violin showpiece of that name, built on Hungarian Gypsy themes. Coleman’s work is a direct tribute, pushing the virtuosic potential of the wind quintet, whilst exploring a old union of folk music and the western classical genre. The work shows off a variety of “gypsy” music styles by combining tempo flexibility for a spotlight on a single instrument, with fast rhythmically complex passages of unison fireworks. 

Tickets from

Gulbenkian Box Office

Full: £23.50

Students & Under 25s: FREE

(Booking fee of £1.50 per ticket,

waived for Gulbenkian Members)

(£1.25 before 1^stAugust)