Recital, 13 June 2009

by Sharona on March 14, 2009

Reconstruction of Clara Schumann’s London Concert (Wednesday, 1st February 1871)

Concerto Cristofori at Schumann House, Zwickau, Germany

Saturday, 13 June 2009, 7.30pm
Hauptmarkt 5, D – 08056 Zwickau

Thomas Guthrie baritone
Sharona Joshua Clara Wieck’s 1827 Stein fortepiano

Sonata Op.31 No.3 Beethoven
Flütenreicher Ebro, Op.138 No.5 Schumann
Frühlingslied, Op.62 No.6 Mendelssohn
Davidsbündlertänze Op.6 Schumann
Von Ewiger Liebe, Op.43 No.1 Brahms
Italian Concerto, BWV.971 Bach
Die Liebe Farbe, Die Schöne Müllerin, D.795 Schubert
Die böse Farbe, Die Schöne Müllerin, D.795
Prelude in E minor, from Prelude & Fugue, Op.35 Mendelssohn
Nocturne in G minor Chopin
Impromptu in C minor, Op.66

For further information please go to the Schumann House website

In 1858 Sir Charles Hall formed the Monday & Saturday Popular Concerts at the new St. James’ Hall in London. Initially, the months of May and June were reserved for keyboard recitals, and Clara Schumann (né Wieck) was invited regularly to perform at these events.

From 1856 to 1888 Clara Wieck returned to perform at Crystal Palace Hall and later at St James’ Hall in London on a regular basis. She created imaginative, thrilling concert programmes designed to meet the growing demand for chamber music. She was joined by the greatest artists of the time to perform music ranging from orchestral and operatic repertoire, to more intimate chamber works.

In these concert performances spanning a lifetime, Clara Wieck revived long forgotten music by the masters of the past, and increased the standing of contemporary composers, in particular that of her own husband, Robert Schumann.

150 years later, through detailed research, Sharona Joshua, and her ensemble Concerto Cristofori recreate the actual concert programmes that were performed by Clara in London at the time.

Concerto Cristofori use period instruments, including a Romantic era 1853 Pleyel piano, a type of piano played frequently by Clara Schumann. Coupled with a return to the prevalent techniques of the time, these concert performances present a rare, unique and illuminating experience for today’s audiences.

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