Sharona Joshua’s fortepiano students at Birmingham Conservatoire

Thursday, 15 March 2012, 7.30pm
Recital Hall, Birmingham Conservatoire
Birmingham City University
Paradise Place, Birmingham, B3 3HG

CLASSIC’S CELEBS!

Thursday, 15th March 2012, Recital Hall, 7.30pm
Directed by Sharona Joshua

The crème de la crème of Classical period works are showcased here, by undergraduate and postgraduate conservatoire students alike, featuring our own Walter and Fritz fortepiano copies.

A melding of forces to include conservatoire period string players, singers and keyboardists, in a beautifully balanced programme of solos, duos, trios and Lieder.

Copy of a Walter fortepiano by Mark Rawson, C. 1790
Copy of a Fritz fortepiano by Denis Woolley (1996), C. 1820

See full programme below

PROGRAMME

Mozart
Sonata for Two Pianos in D major, K. 448
i.               Allegro con spirito

Linyang Wang fortepiano
Jiali Wang fotepiano

Haydn
From 6 Original Canzonettas, Hob.XXVIa: 31-36  ‘Content’
Jacob baker fortepiano
Ekin Naz Kaptan soprano

Beethoven
Piano trio in G major Op.1 No.2
i.               Largo con espressione

Mun Wei Cheah fortepiano
Dominika Feher violin
Hetti Price cello

Schumann
From Diechterliebe, Op.48
i.                Im wunderschönen Monat Mai
ii.              Aus meinen Tränen sprießen
iii.            Die Rose, die Lilie, die Taube, die Sonne
iv.             Wenn ich in deine Augen she
v.              Ich will meine Seele tauchen
vi.             Im Rhein, im heiligen Strome

Yun-Ying Cheng fortepiano
Chung Chi Lin tenor

Haydn
Sonata No.50 in D major, H.XVI/37
i.                Allegro

Thomas Taaffe fortepiano

Mozart
Das Lied der Trennung, K.519

Kelving Loh Yung Szen fortepiano
Finola McDaid soprano

Beethoven
Seven Variations in E-flat Major on the Theme Bei Männern, Welche Liebe Fühlen, from Mozart’s Die Zauberflüte, WoO.46

Elinor Camlin fortepiano
Hetti Price cello

INTERVAL

Mozart
Andante con variazioni in G major for piano 4 hands, K.501

Yingrong Wang fortepiano
Yi-Chun Lin fortepiano

Beethoven
Adelaïde, Op.46

Kelvin Loh Yung Szen fortepiano
Yi Ling Chaing soprano

Haydn
Sonata No.50 in C, Hob.XVI:50
i.               Allegro

Matthew Ellis fortepiano

Schumann
From Liederkreis, Op.39
v.         Mondnacht

Jacob Baker fortepiano
Heather Heighway soprano

Beethoven
Piano Sonata No.27 in E minor Op.90
i.               Mit lebhaftigkeit und durchaus mit Empfindung und Ausdruck

Yeyin Wang fortepiano

Mozart
Piano Trio in C major, K.548
iii.        Allegro

Sharona Joshua fortepiano
Dominika Feher violin
Hetti Price cello

Reconstruction of Clara Schumann’s Concert in Guebwiller, France, with baritone Julius Stockhausen

Original programme held on Wednesday, 15 October 1862

Concerto Cristofori at Saffron Walden & District Music Club

Saturday, 19 November 2011, 7.30pm
Saffron Walden Music Club
The Baptist Church, high Street
Saffron Walden
CB11 3HD

Thomas Guthrie baritone
Sharona Joshua 1853 Pleyel piano

Die Schöne Müllerin

Franz Schubert
(Text: Wilhelm Müller)

The programme includes Chopin’s Ballade in g minor Op.23

For further details please go to Saffron Walden & District Music Club website

The performance includes readings of the lesser-known prologue, epilogue, and four remaining verses from Müller’s poem-cycle Die Schöne Müllerin, which Schubert refrained from setting to music.

Chopin’s Ballade in g minor Op.23, inserted half way through the cycle, was composed in 1835-36 and dedicated to “Monsieur le Baron de Stockhausen,” Hanoverian ambassador to France (a relation of Julius’? Perhaps). This piece is cleverly placed here, as it too, was inspired by a poem – “Conrad Wallenrod”, written by the polish poet Adam Mickiewicz.

Review

I may have left the concert but it isn’t going to leave me for a very long time, if ever! Schubert’s “Die Schöne Müllerin” is usually thought of as a song cycle but what we experienced today was more akin to a miniature opera.

The spine tingling singing was glorious and wholly at the service of the music. What we saw was a man suffering the bitter pangs of unrequited love and what we heard was every single nuance of his emotions rendered in glorious sound. Nor was Sharona Joshua’s fortepiano a mere accompaniment, it was the miller’s true companion on his journey. The lighter tones of the Pleyel piano exquisitely played worked superbly with the voice to enable the audience to share in an emotional journey of rare passion.

The rapport between the performers was palpable as they gave us a Schubert to see as well as hear; it was a privilege to be there.

Victor Hallett’s Festival Web Diary – Llandudno Festival

Sharona Joshua at Birmingham conservatoire

Thursday, 29 September 2011
Birmingham Conservatoire, Birmingham City University
Paradise Place, Birmingham B3 3HG

A two hour demonstration lecture focusing on the history of the fortepiano, period performance practice, style and technique.

For more information about the conservatoire and Sharona’s teaching commitments there, please go to Birmingham conservatoire page

Sunday, 19 June 2011, 5pm
Private event in South East London

Once again, we get together for a concert performance given by my London based students aged 6-18. Quite a few students are taking part, as the class is constantly evolving and expanding. Please be aware that the concert may last slightly longer than usual!

Almost all grade levels are being showcased here starting with pre graders to grade 7 ABRSM piano entrants. Some will be taking their exams in just a few weeks and others in a few months time. Also, we have some intermediate to advanced harpsichord students playing, and I shall be hands on as well.

Participants include:
Ben Travers pre pre grade piano
Sumaya Khan pre grade piano
Karwan Mazen grade I piano
Tasnim Khan grade II piano
Ester Turri grade IV piano
Vicky Tsoukis grade IV piano
Laura Henry grade VI piano
Laura Nouriel grade VII piano
Rabbi Philip Ginsbury harpsichord
Camilla Wilson harpsichord
Sharona Joshua piano

Instruments used:
1902 upright Bechstein piano
Replica harpsichord based on an early Italian by Colin Booth

Repertoire to include pieces by Frescobaldi, Froberger, JS Bach, Handel, Beethoven, Schumann, Brahms, Shostakovich, Nielsen, Skryabin, Webster and Burke, Petzold, Kember, Mier, Gillock, Maikapar and others.

I have just returned from a two weeklong tour of America. It has been a delight from start to finish!

My first stop was at Coal Creek Canyon, Colorado. It was an honour to meet people there, some of whom, I am certain, will become lifelong friends. A deep felt thank you to Geoffrey Hoppe and Linda Benyo, who invited me over to play. And a special thanks to Bonnie Capelle, who took me under her wings, catered to my every need, and showed me a great time!

The incredible scenery up on the Colorado Mountains simply took my breath away. Though I felt a little lightheaded due to the height, it was totally worth it.

With jet leg still plaguing me, I flew over to Washington DC. We were blessed with most beautiful weather while staying in the Capital. Strathmore Mansion was every bit as enchanting as I remembered it. I so enjoyed playing the 1850 Broadwood grand housed there. I was privileged to give a masterclass the following morning, with some fine students: Justin Bird from the Peabody Conservatory, and Florence Rollwagen.

A big thank you to Georgina Javor, who made my visit comfortable and seamless.

It was for me a special time spent in Washington, as I got to catch up with my dear friends Paul & Elizabeth Murray and their beautiful children. Also, some family members came to hear me perform at the Mansion, which was really heart warming. They all travelled quite a distance to see me, in particular my lovely cousin, Michelle Joshua, who drove up from the depths of North Carolina. So quite a reunion all in all!

On I went to Boston, Massachusetts. Though I have played in Dr. Richard Marcus’ house before, it remains a place that never ceases to amaze. Richard boasts a 15 piece piano collection, which is ever growing. Hundreds of modern art works adorn his house walls including paintings, drawings and sketches, with numerous sculptures scattered over the wooden flooring of this four-story building.

Traditionally, these concerts involve the artist playing a few of the pianos, which are all semi-restored historical models. I played on five different instruments and thoroughly enjoyed the beautiful sounds and characteristics of each individual piano. These included an early Erard, two different Chickering pianos made by the specifically appropriate Boston born piano maker, an early Steinway (which sounds so different to later modern instruments) and a beautiful c.1875 Pleyel piano, just a few years younger than my own. The audience, of course, followed me from room to room as I moved on to the next piano. Just like in the olden days!

A huge thanks, therefore, to Dr. Richard Marcus for inviting me over yet again. It’s been an honour and a great pleasure.

From there, onwards I went that same evening to Ashburnham, where the Frederick piano collection is housed. Here I played one piano (thank goodness for that!), a beautiful 1871 Streicher, which worked so well with the programme performed; a reconstruction of Clara Schumann’s concert played that same exact year in London. Though the weather took a turn for the worse, the church was, nevertheless, packed full, with an inquisitive and incredibly warm audience that rewarded me with a standing ovation. A wonderful end to a most splendid tour!

A special thanks goes to the Fredericks, particularly Pat Frederick, who was the perfect host as always, and to my dear friends Romayne and Peter Timms, who looked after me. And finally, a big hug to Margo and Bob Connor for having been ever so kind driving me back to the airport that evening.

This visit has been a great experience for me, so much so, that I am eagerly looking forward to planning the next trip back.

Love to all,
Sharona

I very much enjoyed taking part in this event at Lambeth Town Hall.

The individual musical acts were quite exquisite (Stewart Curtis Klezmer quartet, Adel Ebrary, and Paree’s acapella choir). Also, the event as a whole worked so well. It was a treat to hear such diverse styles of music being presented alongside each other. One could hear very clearly how music in its essence borrows ideas from its surroundings, and how all styles are intrinsically interlinked.

It  was also nice to see people from such diverse ethnical backgrounds in the audience enjoying ALL the very different acts. We should definitely do this again!

I wish to thank rabbi Philip Ginsbury for coming up with this wonderful idea, and for turning it into a reality. And a big thank you to Nitza Spiro for helping find these amazing musicians.

My only regret… forgot to take some photos!

Sharona

I wish to thank everyone at Tornaveen Festival for a splendid evening together. I very much enjoyed playing at Tornaveen hall… the acoustics were superb!

A very special thanks to Geoffrey Cormack for rebooking me for this gig, and for all the kind words from members of the audience afterwards. A thank you as well to the fortepiano ‘helpers’, and a big hug to Ian and Kirsteen for the lovely hospitality. I really enjoyed meeting you all, and hopefully we can get together again soon.

The gorgeous views and scenery on my drive up through the mountains, were somewhat balanced with the horrendous weather and snowfall on my way back to London… quite an experience!

Love to you all
Sharona

I have recently come across this beautiful recording and wanted to share my thoughts about it.

Fanny Davies recorded Robert Schumann‘s Davidsbündler dances Op.6 in 1930, when she was in her late 60s. She was a student of Clara Schumann’s. Her playing in my mind is of the utmost in refinement, sentiment and musicianship. I have no doubt that her interpretation is perhaps the closest we will ever get to hearing Clara Schumann’s own playing.

As this interpretation contains so much intricate detail and nuance I have decided to keep the focus on two recurring topics illustrated in the first dance (there are 18 dances altogether):

1. Tempo Rubato (see below)
2. Chord spreads

I just found this widget that allows me to include written annotations as music is played in real time. Such a wonderful tool!

I hope you enjoy the music, the playing and the commentary, and find it somewhat educational too. I would strongly recommend this recording to anyone.

Album: Fanny Davies Plays Schumann
Label: Pearl [9291]

Helpful tips on how to use the software

Click on the play button to start. You can pause the music at any point by clicking the button again. If you move your cursor away from the button, a time count appears. You can go backwards and forwards by clicking anywhere on the circle, or by clicking, holding and dragging the mouse to a specific point.

That’s all there is to it!

Glossary of terms

Tempo Rubato: The art of borrowed/stolen time aimed at arousing emotion and affecting the soul
rit. / ritardando: Gradually slowing in tempo
Upbeat: An unaccented beat or beats that occur before the first beat of a measure. Also called anacrusis, pickup
Tenuto: to linger / to be held for the full time value; sustained
Harmonic interval: the distance between two notes of a chord
RH: shorthand for right hand
LH: shorthand for left hand

An upcoming event directed by my good friend and colleague John Thwaites

As you are probably aware, I do not normally tend to promote other artist’s concert events. However, I thought this might be of interest to some of you on my mailing list.

Tuesday, 22 March 2011, 7.30pm
Queen Elizabeth Hall, Southbank Centre, London

Cadenza International Summer Music School Showcase

Students join International Faculty of Strings and Piano

Enjoy the musical delights of some of the finest young pianists and string players from around the world, as they perform with an inspirational international faculty.

John Thwaites

Strauss Metamorphosen
Vaughan Williams Fantasia on a theme by Thomas Tallis
Chopin Ballade No.4 in F minor, Op.52
Martinu Variations of a theme of Rossini (cello and piano)
Bruch Nachtgesang (No.6 of 8 Pieces, Op.83)
Bruch Moderato (No.8 of 8 Pieces, Op.83)
Purcell Pavan in G minor, Z.751
Purcell Chacony in G minor for strings

For more information please go to Cadenza International Summer Music School webpage

I wish to thank all fortepiano students, and congratulate you all on your achievements at the concert on Monday. All of you succeeded to create some wonderfully moving moments with your playing. I’ve thoroughly enjoyed teaching you, and hope you manage to make some of what we covered your own.

A special thank you as well to all the singers and string players who took part in this event. We couldn’t have done it without you!

A big thank you to John Thwaites and Martin Perkins for enabling us to put on this concert. And of course to my friend and colleague, David Ward, for his invaluable contributions to this collaborative effort.

Sharona