Concerto Cristofori at Lower Machen Festival
“Sturm und Drang”
250th anniversary of Mozart’s birth
Sharona Joshua Director, fortepiano
Peter Hanson violin
Persephone Gibbs violin
Amelie Roussel viola
Jo Crouch cello
Mozart Piano Concerto in A major K414
Mozart Violin Sonata in G major K379
Mozart Rondo for piano in A minor K511
Mozart Piano Concerto in C major K415
Concerto Cristofori at Restoration House (Rochester, Kent)
“The Romantics”
Peter Hanson violin
Sharona Joshua Girikovsky fortepiano (1824)
Schubert Sonatina in G minor for violin and piano D408 (1816)
Mendelssohn Sonata for violin and piano in F minor Op.4 (1823)
Mendelssohn Rondo Capriccioso for piano solo in E major Op.14 (1830)
Beethoven ‘Spring’ Sonata for violin and Piano in F major Op.24 (1800/01)
Do not miss this opportunity to hear the beautifully sounding 1824 original fortepiano situated in an immaculately restored medieval building at the heart of Rochester, kent.
Concerto Cristofori at Penn House, Chesham
Peter Hanson violin
Sharona Joshua fortepiano
Mendelssohn Sonata for violin and piano in F minor, Op.4 (1823)
Beethoven ‘Spring’ Sonata for violin and piano in F major, Op. 24 (1800/01)
Concerto Cristofori at Burnley & Pendle Music Society
Mozart – The Trios
Sharona Joshua fortepiano
Peter Hanson violin
Nia Harries cello
Piano Trio in C major K458
Violin Sonata in G major K379
Rondo for piano in A minor K511
Piano Trio in E major K542
Fortepiano recital and masterclass at Barnes Music Society, London
(Masterclas 4.45pm-6pm)
Fortepiano Fantasy
Mozart Fantasy in D minor K397
Mozart Sonata No.8 in A minor K310/300d
Haydn Sonata No.62 in E flat major Hob.XVI/52
CPE Bach Fantasy in E flat H 277 (Wq 58/6)
CPE Bach Rondo No 3 in B flat H 267 (Wq 58/5)
Beethoven Sonata 14 in C sharp minor Op. 27/2 quasi una fantasia (‘Moonlight’)
The balance between the emotion and the intellect were set with unfailing good taste throughout this recital…” The Independent
“…TO THE DISCRETION OF THE PERFORMERâ€Â
Performance practice workshop
A musician will move others only if he himself is moved: it is essential that he should experience all the states of mind that he wishes to rouse in the listeners, for in that manner he will make them understand his feelings and make them participate in his emotionsÂ. Carl Philipp Emanuel Bach, C. 1773.