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Format: 2015-04-01
Format: 2015-04-01
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    5 April 2015 - 11:00am
    The Mandelring Quartet and Quartetto di Cremona: Mendelssohn's Octet
    Bernhard Schmidt, Cristiano Gualco, Giovanni Scaglione, Mandelring String Quartet, Nanette Schmidt, Paolo Andreoli, Quartetto Di Cremona, Roland Glassl, Sebastian Schmidt, Simone Gramaglia
    The Castle Hotel Taunton TA1 1NF
    United Kingdom

    An exceptional group, The Mandelring Quartet are famed for their expressivity and remarkable homogeneity of sound and phrasing. They have been prize-winners at several prestigious competitions, including Munich International Music Competition, Evian and Reggio Emilia. Their busy concert schedule has taken them to major venues and festivals worldwide.

    Quartetto di Cremona formed in the year 2000 at the Stauffer Academy of Salvatore Accardo in Cremona. They went on to train with (amongst others) Hatto Beyerle of the Alban Berg Quartet. They have performed at many of the major concert venues and festivals in Europe and have enjoyed numerous appearances at Wigmore Hall. They are currently Artists in Residence at Milan’s Societa’ del Quartetto.

    This is concert 4 of 5 of a series at The Castle Hotel over the Easter Weekend (3–6 April). For the first three concerts, the Mandelring Quartet will perform all six of Mendelssohn’s string quartets interspersed with works by Mozart and Haydn. On Easter Sunday morning, they join forces with Quartetto di Cremona to perform Mendelssohn’s Octet. Quartetto di Cremona then bring the weekend to a close in appropriate style on Easter Monday with a concert to themselves – for this, they have chosen two of Beethoven’s quartets including No 3 from his ‘Razumovsky’ quartets, Op 59.

    Langsamer Satz
    Anton von Webern (1883-1945)
    Grosse Fuge
    Ludwig van Beethoven (1770-1827)
    Octet for Strings in E flat
    Felix Mendelssohn (1809-1847)
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    6 April 2015 - 11:00am
    Quartetto di Cremona: Beethoven Quartets
    Cristiano Gualco, Giovanni Scaglione, Paolo Andreoli, Quartetto Di Cremona, Simone Gramaglia
    The Castle Hotel Taunton TA1 1NF
    United Kingdom

    Quartetto di Cremona formed in the year 2000 at the Stauffer Academy of Salvatore Accardo in Cremona. They went on to train with (amongst others) Hatto Beyerle of the Alban Berg Quartet. They have performed at many of the major concert venues and festivals in Europe and have enjoyed numerous appearances at Wigmore Hall. They are currently Artists in Residence at Milan’s Societa’ del Quartetto.

    This is concert 5 of 5 of a series at The Castle Hotel over the Easter Weekend (3–6 April). For the first three concerts, the Mandelring Quartet will perform all six of Mendelssohn’s string quartets interspersed with works by Mozart and Haydn. On Easter Sunday morning, they join forces with Quartetto di Cremona to perform Mendelssohn’s Octet. Quartetto di Cremona then bring the weekend to a close in appropriate style on Easter Monday with a concert to themselves – for this, they have chosen two of Beethoven’s quartets including No 3 from his ‘Razumovsky’ quartets, Op 59.

    String Quartet No 9 in C, 'Rasumovsky'
    Ludwig van Beethoven (1770-1827)
    String Quartet No 15 in A minor
    Ludwig van Beethoven (1770-1827)
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    3 April 2015 - 6:00pm
    Bach's St John Passion | Saint Michael's Singers and English Symphony Orchestra
    Christopher Booth-Jones, Colin Campbell, English Symphony Orchestra, Helen Meyerhoff, Iestyn Morris, Matthew Minter, Paul Leddington Wright, Richard Dowling, Saint Michael's Singers
    Coventry Cathedral Coventry CV1 5AB
    United Kingdom

    Saint Michael's Singers and English Symphony Orchestra return to Coventry Cathedral for their annual Bach Passion. This year features the unbridled and raw emotion of the St John Passion, Bach's oldest surviving Passion.

    St John Passion
    Johann Sebastian Bach (1685-1750)
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    8 April 2015 - 7:30pm
    Music in the Round's 2015 Spring Concert Series - Tim Horton (piano)
    Tim Horton
    Crucible Studio Theatre Sheffield S1 1DA
    United Kingdom

    “In these sonatas we are led through a magnificent landscape, through forests, meadows, valleys and rocky gorges, with glimpses presenting magnificent vistas.” Leipziger Allgemeine musikalische Zeitung, 1824

    Tim Horton reaches the final performance in his monumental series presenting the complete Beethoven piano sonatas and plays three sonatas written in a period between 1820 and 1822. Fully deaf by this stage of his life, Beethoven nevertheless unleashes a rich array of new ideas that make extensive and innovative demands on musicianship and keyboard and pedal technique. Each sonata has its own distinct character, yet all of them mark a significant development of the form even from the strikingly original works of his middle period.

    “Perhaps these three sonatas should not be thought of as a single unit - but when you perform them in one sweep something extraordinary and mysterious happens to the music. Together they represent a long journey ending in silence.” Mitsuko Uchida

    Sonata for Piano No 30 in E
    Ludwig van Beethoven (1770-1827)
    Sonata for Piano No 31 in A flat
    Ludwig van Beethoven (1770-1827)
    Sonata for Piano No 32 in C minor
    Ludwig van Beethoven (1770-1827)
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    1 April 2015 - 7:15pm
    Music in the Round's 2015 Spring Series | An evening with pianist Tim Horton
    Tim Horton
    Crucible Studio Theatre Sheffield S1 1DA
    United Kingdom

    An evening with pianist Tim Horton: ‘Exploring the Beethoven piano sonatas’

    Everyone who has heard even a single performance of Tim Horton’s grand project to play the complete cycle of Beethoven piano sonatas will have been transfixed by the outstanding musicianship and technical bravura of this remarkable Sheffield-based performer. In conversation with writer and broadcaster Paul Allen and with a liberal sprinkling of musical examples, Tim will discuss and answer audience questions about the demands of playing this extraordinary music and the personal impact that comes from total immersion with these masterpieces.

    This special evening comes one week before the final recital in Tim’s complete cycle.

    This event will last approx. 75 minutes with no interval

    What’s it like to play ‘in the round’?

    “At first terrifying but ultimately unique. You feel as though you are sharing something very special with friends.” Tim Horton

    Composition Not Known
    Ludwig van Beethoven (1770-1827)
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    2 April 2015 - 6:30pm
    Early evening concert | Edinburgh Quartet
    Edinburgh Quartet
    Cottiers Theatre Glasgow G11 5PU
    United Kingdom

    Mendelssohn and his World: In its 2014/15 Rush Hour Series the Edinburgh Quartet investigates various influences on the music of Mendelssohn.

    Tema con Variazioni. Andante sostenuto in E major from 4 Pieces for String Quartet
    Felix Mendelssohn (1809-1847)
    String Quartet No 2 in G
    Ludwig van Beethoven (1770-1827)
  • 6 April 2015 - 7:30pm
    Handel's Messiah by candlelight | English Chamber Choir
    Belmont Ensemble of London, Ciara Hendrick, Elizabeth Weisberg, English Chamber Choir, Guy Cutting, Peter G Dyson, Philip Tebb
    St Martin-in-the-Fields London WC2N 4JJ
    United Kingdom
    Messiah (Watkins Shaw Edition)
    George Frideric Handel (1685-1759)
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    3 April 2015 - 7:30pm
    Metamorphosen - Part of the Aldeburgh Music Easter Weekend
    Aldeburgh Strings, Lorenzo Soules, Markus Däunert
    Snape Maltings Concert Hall Snape IP17 1SP
    United Kingdom

    The meltingly intimate sextet that opens Strauss’s operatic discourse on the relative merits of music and poetry is also the prelude to this programme of contrasts, drawing inspiration from the distant past, but concluding with a grief-laden lament at recent history. Stravinsky and the young Britten turn to classical mythology to channel the spirit of Apollo, leader of the Muses and patron god of both poetry and music.

    Stravinsky’s bewitching ballet is both spritely and tender, poetic and majestic, whilst the febrile flourishes of Britten’s exhilarating miniature concerto exude youthful bravura. Strauss’s classically-titled elegy, a nostalgic In Memoriam both personal and profound was finished days before the second world war’s conclusion as Europe lay in ruins.

    Sextet from Capriccio
    Richard Strauss (1864-1949)
    Apollon Musagète
    Igor Stravinsky (1882-1971)
    Young Apollo
    Benjamin Britten (1913-1976)
    Metamorphosen
    Richard Strauss (1864-1949)
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    4 April 2015 - 11:00am
    Symphonies of Winds - Part of Aldeburgh Music's Easter Weekend
    Aldeburgh Winds, Nicholas Daniel
    Snape Maltings Concert Hall Snape IP17 1SP
    United Kingdom

    The brief flourish of a fanfare, portraits of Roman gods, a memorial, metamorphoses, music based on classical models; Aldeburgh Winds echo their string counterparts’ programme in music brimming with vitality – sonorous, richly textured and brilliantly exploiting the characteristics of their instruments, from solo oboe to a large wind ensemble.

    A pair of trumpets herald the honeyed textures and rich invention of Strauss’ youthful Serenade and Britten’s ingenious portraits in sound for solo oboe. Stravinsky’s ritualistic instrumental chanting decorates a simple In memoriam chorale, lending it a vivid and exotic charge before the tumultuous conclusion of Strauss’s magnificent large-scale symphony for winds.

    Symphonies of Wind Instruments
    Igor Stravinsky (1882-1971)
    Fanfare for a New Theatre
    Igor Stravinsky (1882-1971)
    Symphony for Wind Instruments
    Richard Strauss (1864-1949)
    Serenade for 13 Wind Instruments in E flat
    Richard Strauss (1864-1949)
    6 Metamorphoses after Ovid, for oboe
    Benjamin Britten (1913-1976)
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    4 April 2015 - 8:00pm
    I Fagiolini - Part of Aldeburgh Music's Easter Weekend
    I Fagiolini, Robert Hollingworth, The English Cornett and Sackbut Ensemble
    Snape Maltings Concert Hall Snape IP17 1SP
    United Kingdom

    Victoria and Schütz were from different worlds geographically and politically but wrote some of the most powerfully expressive music of their time. Schütz’s a capella setting of the Passion has a stripped-back feel: his use of brass in the accompanying Seven Last Words is extravagant by comparison. In contrast, the rich vocal satin of Victoria’s polyphony speaks of another place and times.

    St John Passion
    Heinrich Schütz (1585-1672)
    Lamentations for Holy Saturday
    Tomás Luis de Victoria (1548-1611)
    Motets and Divisions for Holy Week
    Tomás Luis de Victoria (1548-1611)
    The Last Seven Words from the Cross
    Heinrich Schütz (1585-1672)
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