I am delighted to have been invited to perform in this year’s Belper Music Festival, part of Belper Arts Festival 2017. Beate Toyka, the festival director, and I will entertain you with light classical music, perfect for a spring evening. The concert will take place in St Peter’s Church in Belper, and before it begins a traditional, fruity ‘May Punch’ will be available on the terrace. The start of the concert will be announced by a trumpet voluntary, inviting you into the church.
Following on from our recent performance of Beethoven’s ‘Kreutzer’ Sonata at the Classical Weekend in Sheffield, Beate and I will be including movements from his Sonata in F major, ‘Spring’ Sonata. The programme will also include Mendelssohn’s Spring Song, Elgar’s Chanson de Matin and Chanson de Nuit, Liszt’s ‘Un Sospiro’ and the theme from Ladies in Lavender, by Nigel Hess.
Tickets are £10 for adults, £8 for over 60s and £1 for under 16s. Tickets and more information can be found on the Belper Arts Festival website.
Concerts in the Belper Music Festival 2017 run from 29th April to 2nd June and include a varied and exciting line-up. Highlights include a performance by ‘The Younger Kanneh-Masons’, the very talented siblings of Sheku Kanneh-Mason, winner of BBC Young Musician of the Year 2016, and the Belper ‘Last Night of the Proms’ starring Opera Babe Karen England.
After spending a year and a half working my way through this fabulous collection of sonatas, I have reached the final performance. In planning the series, the decision of which sonata to end with was an obvious one: the Kreutzer.
Beethoven composed the ninth of his ten violin sonatas in 1803, persuaded by the young violinist George Polgreen Bridgetower, who was keen to premiere a piece with him. Bridgetower had recently arrived in Vienna, and is said to have been an exciting violinist with an impulsive and brash personality. Beethoven was given very little time to compose the sonata, and on the day of the concert some of the movements were only just finished, the ink barely dry on the page.
The finale of the ninth sonata, an energetic tarantella, is the original last movement of the sixth (Op. 30 no.1), which Beethoven had set aside, considering it to be too long for that piece. It became the basis for the creation of the first two movements of the new work. The style of the sonata has shifted even further from the model of Mozart’s, and it is written in a style ‘like that of a concerto’. Both piano and violin parts are extremely virtuosic.
Following the premiere, Beethoven and Bridgetower had a quarrel, and so when the sonata was later published the dedicatee was changed to Rodolphe Kreutzer. Beethoven wrote that ‘As the sonata is written for a competent violinist, the dedication to Kreutzer is all the more appropriate.’ In spite of this Kreutzer never performed the work, saying to Hector Berlioz that it was ‘outrageously unintelligible’!
I am delighted to have the opportunity to perform the Kreutzer as part of the Classical Weekend in Sheffield. I will be joined by pianist Beate Toyka and the concert is at 1.30pm on Saturday 18th March, in the Upper Chapel, Surrey Street, Sheffield. Tickets cost £5 and will be available on the door, although advance booking is recommended. Visit the Classical Weekend website for more information.