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.
“Mozart – The Piano Trios”
Sharona Joshua Schantz fortepiano
Peter hanson violin
Nia Harries celloPiano Trio in E flat Major K.498
Rondo (Andante) in A Minor for piano solo K. 511
Piano Trio in C Major K. 548
“Tradition”
Wolfgang Amadeus Mozart
Adagio in B minor K540Wolfgang Amadeus Mozart
Sonata in D major K576Franz Joseph Haydn
Sonata No 62 in E flat major Hob XVI/52Ludwig van Beethoven
Sonata Pathétique in C minor Op 13Ludwig van Beethoven
Variations in D major on ‘Rule Britannia’ WoO79
Workshop: The Principles of Music
Learning
a. Tempo Rubato – the art of borrowed/stolen time aimed at arousing emotion and affecting the soul
– Tempo changes
– Tenuto
– Notes Inegales
– Over-dotting
– Rhythmic dislocation of melody and accompaniment
– Fingering
– Agogic accents
– Shorter valued notes played later and faster
– Portamento (stringed instruments)
– Vibrato (stringed instruments)
b. Touch and posture
c. Pedalling
d. Fingering
e. Articulation
f. Improvisation
g. Rhetoric in music
h. Use and comparison of notated music of contemporary and modern editions.
