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.
On Saurday 17th September I will perform the penultimate concert in my series of the complete Beethoven violin sonatas. I will be joined by award-winning Croatian pianist Inja Stanovic and once again the venue is St Andrew’s Church, Psalter Lane, Sheffield.
In this programme I will perform both the G major sonatas (Op.30 no. 3 and Op. 96). Although there is a decade between their compositions the two sonatas have a number of similarities. G major tended to be a pastoral key for Beethoven, who was inspired and influenced by nature throughout his life, and both works have a feeling of the countryside and make use of folk-like melodies. Opus 96, which was his final violin sonata, opens with a figure like a bird call, followed by gentle arpeggios in both instruments which evoke summer breezes. The finale of the earlier G major sonata is an energetic folk dance often over a drone bass.
Another notable feature of the sonatas is Beethoven’s use of E flat major. In Op.30/3 he uses it as the key of the second movement, an elegant minuet, and in Op.96 he gives it almost as much importance as the tonic, including it in all four movements.
Alongside these works Inja will perform his twelfth piano sonata, in A flat major Op. 26. It was composed in 1801, the first of four piano sonatas that year, all of which are experimental in some way. It is unusual in that none of the movements uses the traditional sonata form structure. The third movement, described in Beethoven’s initial sketches as a ‘character piece’ is a funeral march; this was a popular genre during the era of the Napoleonic Wars.
Tickets can be reserved in advance through the contact page. £12 full price, £8 concessions.
The second concert in my series which includes the complete Beethoven violin sonatas is coming up on Saturday 13th February, 7.30pm, in St Andrew’s Church, Psalter Lane, Sheffield. This concert will include Beethoven’s 4th and 5th sonatas, Opp. 23 and 24.
In this concert I will be accompanied by pianist Emmanuel Vass. Emmanuel studied at the Royal Northern College of Music and he now has a busy performing schedule around the country and also lectures at Leeds College of Music. Last year he released his second solo album, Sonic Waves, which was funded entirely through a Kickstarter campaign and reached number one in the specialist classical charts. His music has been played on Classic FM and Radio 3.
Our concert will also feature romantic works by Brahms, Dvorak and Elgar, making it an ideal outing to celebrate Valentine’s Day! Tickets are £12/£8 concessions and seating is unreserved.