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DTSTART;TZID=Europe/London:20270228T153000
DTEND;TZID=Europe/London:20270228T173000
DTSTAMP:20260702T123608Z
CREATED:20260626T221330Z
LAST-MODIFIED:20260702T123608Z
UID:7023-1803828600-1803835800@nadsa.co.uk
SUMMARY:Tim Horton - An Afternoon of Viennese Masterpieces
DESCRIPTION:Artist: Tim Horton (piano) \nConcert Sponsor: C & M Pike Trust \nProgramme\n\nLudwig van Beethoven – Piano Sonata No. 9 in E major\, Op. 14 No. 1\nLudwig van Beethoven – Piano Sonata No. 10 in G major\, Op. 14 No. 2\nLudwig van Beethoven – Piano Sonata No. 8 in C minor\, Op. 13\, “Pathétique”\nInterval\nFranz Schubert – Four Impromptus\, D 935 (Op. 142)\n\nAbout the Concert\nOn Sunday 28 February\, one of the United Kingdom’s leading pianists comes to nadsa. Tim Horton\, a founding member of Ensemble 360 and a regular at major festivals across the country\, presents an afternoon of Viennese masterworks: three contrasting Beethoven sonatas\, culminating in the celebrated Pathétique\, followed by Schubert’s four beautiful and finely crafted impromptus.. Reviewing his recent playing\, The Strad praised its “brilliance\, precision and tireless energy.” This is a programme of intimacy and grandeur from a pianist at the height of his powers. \nFrom Beethoven’s Wit to Schubert’s Farewell\nThe recital opens with the two sonatas of Beethoven’s Op. 14\, written in 1798–99. The Sonata No. 9 in E major is intimate and lyrical\, so songlike that Beethoven later arranged it for string quartet; its companion\, the Sonata No. 10 in G major\, is light\, witty and pastoral\, full of playful invention. The first half closes with the Pathétique\, completed in 1798\, whose stormy C minor drama and famous singing Adagio made it one of the most celebrated works of his early maturity. \nAfter the interval comes Schubert’s set of Four Impromptus\, D 935\, composed in December 1827 in the last full year of his life and published only after his death\, in 1839\, as Op. 142. Schumann thought the set was really a sonata in disguise\, and the four pieces do form a satisfying whole\, ranging from high drama to the most intimate songfulness. The first\, in F minor\, is the most expansive\, unfolding on an almost orchestral scale and framing a glowing central episode in A flat major. The second\, in A flat major\, is a tender\, minuet-like Allegretto of disarming simplicity\, its serenity shadowed by a more restless central section. At the heart of the set stands the third\, in B flat major\, a sequence of graceful variations on a melody Schubert had already loved enough to use in his Rosamunde music\, by turns delicate\, brilliant and wistful. The finale\, in F minor\, is a sparkling\, Hungarian-flavoured dance that gathers headlong momentum and drives the afternoon to an exhilarating close. \nAbout the Artist\nTim Horton is equally at home in solo and chamber repertoire and is regularly invited to perform at major festivals and concert series across the country. Early in his career\, on the recommendation of the late Alfred Brendel\, he stood in at short notice to perform Schoenberg’s Piano Concerto at Symphony Hall\, Birmingham and the Royal Festival Hall\, London\, with the City of Birmingham Symphony Orchestra under Sir Simon Rattle. In 2005 he was made a Scholar of the Klavier-Festival Ruhr\, and he gave his debut solo recital at Wigmore Hall in 2016. A founding member of Ensemble 360 and the Leonore Piano Trio\, he has recorded extensively for Hyperion and has performed complete cycles of the Beethoven and Schubert sonatas for Music in the Round in Sheffield. \nWhy You Shouldn’t Miss This\n\nTo hear a great pianist explore Beethoven and Schubert in a single afternoon is one of the deepest pleasures a recital can offer. With his combination of intellectual insight and expressive warmth\, Tim Horton promises playing of real distinction. It will be a joy in nadsa’s intimate setting.
URL:https://nadsa.co.uk/event/tim-horton/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
ATTACH;FMTTYPE=image/webp:https://nadsa.co.uk/wp-content/uploads/2026/06/Tim-Horton-1.webp
ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
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DTSTART;TZID=Europe/London:20270321T153000
DTEND;TZID=Europe/London:20270321T173000
DTSTAMP:20260702T123620Z
CREATED:20260626T221359Z
LAST-MODIFIED:20260702T123620Z
UID:7015-1805643000-1805650200@nadsa.co.uk
SUMMARY:Barbican Quartet - Three Worlds of the String Quartet
DESCRIPTION:Artists: Barbican Quartet (string quartet) – Amarins Wierdsma (Violin)\, Kate Maloney (Violin)\, Christoph Slenczka (Viola) and Yoanna Prodanova (Cello) \nConcert Sponsor: Ruth & Peter Lowe \nProgramme\n\nWolfgang Amadeus Mozart – String Quartet in D major\, K 575\nAlexander Zemlinsky – String Quartet No. 2\, Op. 15\nInterval\nLudwig van Beethoven – String Quartet in C major\, Op. 59 No. 3\, “Razumovsky”\n\nAbout the Concert\nOn Sunday 21 March\, the prizewinning Barbican Quartet make their eagerly anticipated return to nadsa. Winners of First Prize at the 2022 ARD International Music Competition in Munich\, this is a quartet renowned for its distinctive sound and deeply personal interpretations. Their programme spans more than a century. It opens with the elegance of Mozart’s late “Prussian” quartet\, continues with the searching intensity of Zemlinsky and finishes with one of Beethoven’s boldest and most exhilarating works\, the third of the Razumovsky quartets. \nA Journey Across the String Quartet\nThe afternoon opens with Mozart’s String Quartet in D major\, K 575\, composed in 1789 and the first of the three “Prussian” quartets\, among the last he completed. Written with the cello-playing King of Prussia in mind\, it gives the cello unusual prominence and shares its graceful\, song-like material democratically among all four players. There follows Zemlinsky’s String Quartet No. 2\, a large and harmonically adventurous work of 1913 to 1915\, cast as a single continuous span. Bound up with the personal crises surrounding his circle\, including his brother-in-law Arnold Schoenberg\, it is music of extraordinary emotional pressure and ambition. \nAfter the interval comes Beethoven’s String Quartet in C major\, Op. 59 No. 3\, the last of the three quartets composed in 1806 for the Russian ambassador Count Razumovsky\, and a landmark of his middle period. From its mysterious\, harmonically veiled introduction it bursts into brilliant life\, culminating in a headlong fugal finale of near-perpetual motion that drives the music to a thrilling close. \nAbout the Ensemble\nThe Barbican Quartet is a distinctive presence on the international chamber-music scene\, renowned for its unique sound and deeply personal interpretations of repertoire spanning four centuries. Formed in 2014 at the Guildhall School of Music and Drama in London\, the quartet won First Prize and several special awards at the 2022 ARD International Music Competition in Munich. Previous successes include prizes at the Bordeaux International String Quartet Competition in 2022 and the Joseph Joachim International Chamber Music Competition in 2019. Their debut album\, Manifesto on Love\, was released in 2024. \nWhy You Shouldn’t Miss This\n\nThis is chamber music of the highest order performed by one of the most exciting and internationally acclaimed young quartets. From Mozart’s poise to Beethoven’s daring\, by way of Zemlinsky’s heady late-Romantic world\, it is a programme that rewards the connoisseur and newcomer alike.
URL:https://nadsa.co.uk/event/barbican-quartet/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
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ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
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DTSTART;TZID=Europe/London:20270425T153000
DTEND;TZID=Europe/London:20270425T173000
DTSTAMP:20260702T123633Z
CREATED:20260626T221343Z
LAST-MODIFIED:20260702T123633Z
UID:7039-1808667000-1808674200@nadsa.co.uk
SUMMARY:CarmenCo -  An Afternoon of Opera\, Theatre and Comedy
DESCRIPTION:Artists: CarmenCo – Emily Andrews (voice and flute)\, David Massey (guitar) and Francisco Correa (guitar) \nConcert Sponsor: Rathbones Investment Management \nProgramme\nMy My My Delilah! – a concert and play\, telling the story of Samson and Delilah from Delilah’s point of view\, in CarmenCo’s own arrangements. The show includes well-known excerpts by Saint-Saëns\, Bizet\, Verdi\, Donizetti and others. \n\nGeorges Bizet – Habanera from Carmen\nGiuseppe Verdi – Triumphal March from Aida\nCamille Saint-Saëns – “Mon cœur s’ouvre à ta voix” from Samson et Dalila\nGioachino Rossini – overture to The Barber of Seville\nSee the full programme below\n\nAbout the Concert\nnadsa’s 2026–2027 season ends on Sunday 25 April with something gloriously different. The prizewinning trio CarmenCo brings My My My Delilah!\, their brand-new concert and play that retells the story of Samson and Delilah from Delilah’s own point of view. Part music\, part theatre and shot through with comedy\, it asks what really lay behind her infamous betrayal. Was she trying to impress? Was she jealous of his hair? And why is she here on stage playing the flute? By turns deeply moving\, irreverent and laugh-out-loud funny\, it is built around music from Saint-Saëns’s opera and a feast of operatic favourites in the trio’s own arrangements. \nAn Opera Reimagined\, for Flute\, Voice and Two Guitars\nThe afternoon weaves great operatic music into a single dramatic arc. From Saint-Saëns’s Samson et Dalila come the sensuous Bacchanale\, the tender “Printemps qui commence” and the famous seduction aria “Mon cœur s’ouvre à ta voix\,” set alongside showstoppers from Bizet’s Carmen\, Verdi’s Aida and La Traviata\, and Donizetti’s La Favorita. A Spanish-tinted second half opens with Tárrega’s Capricho Árabe and Falla’s Miller’s Dance before Schubert’s beloved Ständchen and a sparkling finale\, the overture to Rossini’s The Barber of Seville. About seventy per cent music and thirty per cent spoken word\, the show is performed entirely from memory\, freeing the players to act\, move and draw the audience into the story. \nAbout the Ensemble\nFormed in 2017\, the prizewinning trio CarmenCo have performed all over England\, Scotland and Wales\, in every kind of venue from Kings Place and Buxton Festival to village halls and schools\, honing a distinctive approach built on their own imaginative arrangements of opera\, orchestral\, folk and world music. The trio comprises Emily Andrews\, flautist and mezzo-soprano\, and guitarists David Massey and Francisco Correa\, all Royal Academy of Music graduates. CarmenCo grew out of the Andrews Massey flute-and-guitar duo\, formed in 2009 and winner of the Tunnell Trust Award for 2012–2013\, when the addition of Francisco Correa\, himself an internationally acclaimed soloist\, brought richer textures and greater variety. Their earlier show A Pocket Opera\, an irreverent retelling of Carmen\, has been performed more than fifty times to unanimous acclaim. My My My Delilah! receives its premiere in Frome in October 2026\, ahead of a full UK tour. The Ayrshire Post hailed the trio as “first-rate musicians” offering a “superb range of musical colour and artistry throughout the programme.” \nWhy You Shouldn’t Miss This\nThis is more than a concert: it is a piece of musical theatre\, by turns beautiful\, funny and surprising\, and the perfect way to end the season. Performing from memory and in a less formal setting\, CarmenCo make great music irresistibly accessible. \nFull Programme\n\nCamille Saint-Saëns – Priestesses’ Dance from Samson et Dalila (flute\, two guitars)\nGeorges Bizet – Habanera from Carmen (voice\, two guitars)\nGiuseppe Verdi – Triumphal March from Aida (flute and guitar)\nGaetano Donizetti – “O mio Fernando” from La Favorita (voice\, two guitars)\nCamille Saint-Saëns – “Printemps qui commence” from Samson et Dalila (voice\, two guitars)\nGiuseppe Verdi (arr. Ferrer) – La Traviata Variations (two guitars)\nGiuseppe Verdi – “Possente Fthà” from Aida (voice/flute\, two guitars)\nCamille Saint-Saëns – Bacchanale from Samson et Dalila (flute/violin\, two guitars)\nInterval\nFrancisco Tárrega – Capricho Árabe (solo guitar)\nManuel de Falla – Miller’s Dance (two guitars)\nFranz Schubert (arr. Boehm/Massey) – Ständchen (flute\, guitar)\nCamille Saint-Saëns – “Mon cœur s’ouvre à ta voix” from Samson et Dalila (voice\, two guitars)\nCamille Saint-Saëns – “L’amour! viens aider ma faiblesse” from Samson et Dalila (voice\, two guitars)\nGioachino Rossini – overture to The Barber of Seville (flute\, two guitars)
URL:https://nadsa.co.uk/event/carmenco/
LOCATION:The Courtenay Centre\, Kingsteignton Road\, Newton Abbot\, Devon\, TQ12 2QA\, United Kingdom
CATEGORIES:nadsa concert
ATTACH;FMTTYPE=image/webp:https://nadsa.co.uk/wp-content/uploads/2026/06/CarmenCo-2.webp
ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
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