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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:20261025T153000
DTEND;TZID=Europe/London:20261025T173000
DTSTAMP:20260702T123519Z
CREATED:20260626T221324Z
LAST-MODIFIED:20260702T123519Z
UID:7045-1792942200-1792949400@nadsa.co.uk
SUMMARY:Daniele Rinaldo -  A Piano Journey from Stillness to Grandeur
DESCRIPTION:Artist: Daniele Rinaldo (piano) \nConcert Sponsor: Austins Department Store \nProgramme\n\nArvo Pärt – Für Alina (1976)\nMaurice Ravel – Miroirs (1904–05)\nFrédéric Chopin – Barcarolle in F sharp major\, Op. 60\nInterval\nPeter Nickol – Blue Mix (2002)\nFranz Schubert – Sonata in A major\, D 959\n\nAbout the Concert\nThe Italian pianist Daniele Rinaldo returns to nadsa on Sunday 25 October with a programme of remarkable range\, journeying from the hushed simplicity of Arvo Pärt to one of Schubert’s last and greatest sonatas. Hailed by The New York Times as “a pianist of extraordinary dramatic flair\,” Rinaldo has performed in major venues across the world while also pursuing a parallel academic career in economics at the University of Exeter. His is a thoughtfully curated afternoon that sets shimmering Impressionism and a contemporary voice alongside the grand Classical-Romantic tradition. \nFrom Silence to the Grand Romantic Sonata\nThe recital opens with Pärt’s Für Alina\, the spare\, meditative miniature of 1976 that gave birth to his celebrated “tintinnabuli” style\, its name drawn from the Latin for little bells. From this stillness the programme blossoms into Ravel’s Miroirs\, five luminous tone-paintings from 1904–05\, among them the fluttering Noctuelles\, the desolate Oiseaux tristes\, the surging Une barque sur l’océan and the dazzling Spanish Alborada del gracioso. Chopin’s late Barcarolle in F sharp major then closes the first half\, its lilting gondolier’s rhythm crowned by some of his richest harmony. \nAfter the interval Rinaldo turns to a contemporary work\, Peter Nickol’s Blue Mix of 2002\, before the afternoon culminates in Schubert’s Sonata in A major\, D 959. The middle work of the three great sonatas composed in the final months of his life in 1828\, it is music of breadth and daring\, its serene outer movements framing an Andantino whose central storm is among the most startling passages Schubert ever wrote. \nAbout the Artist\nDaniele Rinaldo studied at the Royal Academy of Music in London\, the Accademia Nazionale Santa Cecilia in Rome and the Musik-Akademie in Basel\, where he gained the Soloist Diploma. He has performed as a soloist in major venues and festivals around the world\, from Wigmore Hall and the Barbican to concert halls across Europe and the United States. Something of a polymath\, he combines his concert touring with a lectureship in economics at the University of Exeter\, where his research spans environmental\, development and mathematical economics. The result is an artist of unusual curiosity\, equally at home in the introspective and the virtuosic. \nWhy You Shouldn’t Miss This\nFrom the radiant calm of Pärt to the sweep of late Schubert\, Daniele Rinaldo’s recital is one of real imagination\, full of colour\, quiet and contrast. It promises an afternoon to remember in nadsa’s intimate setting.
URL:https://nadsa.co.uk/event/daniele-rinaldo/
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/Danielle-Rinaldo.webp
ORGANIZER;CN="nadsa Concerts":MAILTO:boxoffice@nadsa.co.uk
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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
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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