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DTSTART;TZID=Europe/London:20260927T153000
DTEND;TZID=Europe/London:20260927T173000
DTSTAMP:20260702T123101Z
CREATED:20260626T221318Z
LAST-MODIFIED:20260702T123101Z
UID:7043-1790523000-1790530200@nadsa.co.uk
SUMMARY:Robert Cohen and Dina Duisen -  Song and Sonata for Cello and Piano
DESCRIPTION:Artists: Robert Cohen (cello) and Dina Duisen (piano) \nConcert Sponsor: Don and Betty Frampton \nProgramme\n\nLudwig van Beethoven – Cello Sonata No. 3 in A major\, Op. 69\nGabriel Fauré – Après un Rêve; Papillon; Élégie\nInterval\nJohannes Brahms – Cello Sonata No. 2 in F major\, Op. 99\n\nAbout the Concert\nnadsa opens its 2026–2027 season on Sunday 27 September with one of the foremost cellists of our age. Robert Cohen will perform with his recital partner since 2023\, Kazakh-British pianist Dina Duisen\, making her fourth appearance with nadsa. The afternoon pairs two towering cello sonatas by Beethoven and Brahms with a group of Fauré’s most cherished miniatures. A programme of conversation and contrast\, it ranges from Classical poise to autumnal Romantic warmth. \nFrom Classical Dialogue to Romantic Fire\nThe afternoon opens with Beethoven’s Cello Sonata No. 3 in A major\, composed in 1807–08 during his heroic middle period. It was the first cello sonata to treat the two instruments as genuine equals\, and it announces that intent at once: the cello sings the opening theme entirely unaccompanied. There follows a set of Fauré’s best-loved short pieces. Après un Rêve\, originally a song from the 1870s\, unfolds as a long\, yearning melodic line; the gentle Papillon flutters with salon charm; and the Élégie of 1880 is an intensely lyrical lament\, one of the most loved of all cello works. \nAfter the interval comes Brahms’s Cello Sonata No. 2 in F major\, written in the summer of 1886 during a fertile holiday beside Lake Thun and dedicated to the cellist Robert Hausmann. Passionate and expansive\, with bold tremolo writing and a slow movement of rare tenderness\, it is Brahms at his most ardent. The critic Eduard Hanslick wrote that in this music “passion rules\, fiery to the point of vehemence.” \nAbout the Artists\nRobert Cohen has enjoyed a distinguished international career spanning more than four decades\, performing with many of the world’s leading conductors and chamber ensembles. He made his concerto debut at the Royal Festival Hall at the age of twelve and his recording of the Elgar Cello Concerto\, made when he was nineteen\, earned a silver disc. He has recorded for EMI\, Deutsche Grammophon\, Sony\, BIS\, Decca and others\, and is William Pleeth Professor of Cello at the Royal Academy of Music. The Guardian has written that Cohen “can hold any audience in the palm of his hand.” \nDina Duisen brings warmth and versatility to the piano partnership. Born in Almaty into a family of musicians and resident in London since 2002\, she gained her Master of Arts with distinction from the Royal Academy of Music\, where she now works alongside the Royal College of Music. Her solo album Mazurkas from Chopin to Adès was recorded with Grammy-winning producer Andrew Keener. In 2023 she founded her annual chamber-music festival “Dina & Friends” at the 1901 Arts Club in London. This is her fourth appearance at nadsa. \nWhy You Shouldn’t Miss This\nThis is chamber music of the highest order: two great cello sonatas framing a garland of Fauré’s most affecting writing\, performed by an artist at the height of his powers and a pianist of real distinction.
URL:https://nadsa.co.uk/event/robert-cohen-and-dina-duisen/
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/Robert-Cohen-and-Dina-Diusen-2.webp
ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
END:VEVENT
BEGIN:VEVENT
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
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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
ATTACH;FMTTYPE=image/webp:https://nadsa.co.uk/wp-content/uploads/2026/06/Barbican-Quartet-1.webp
ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
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