Vienna, 1785. Johann Friedrich Schink is blown away by a new work featuring the new-fangled clarinet and basset horn. ‘Oh, what a glorious effect it made – glorious and great, excellent and sublime!’ he writes of Mozart’s Serenade 'Gran Partita’.
Eighteenth-century Vienna was abuzz with musical inventions. From the mellifluous clarinet (and its dark, idiosyncratic cousin, the basset horn) to the extended range and dynamics of the fortepiano, to the resonance of stringed instruments, the palette of sonic possibilities was expanding year on year. Both well-established composers like Mozart, and up-and-coming individuals, such as a young musician called Ludwig van Beethoven, were inspired by the possibilities.
So too are performers and early music scholars Nicola Boud, Simon Cobcroft and Erin Helyard, who bring their infectious enthusiasm for innovation, 18th-century style, to the much-loved chamber music of these trailblazing characters.
Travel back to the future with three dynamic artists to hear these glorious works as if for the first time.
PROGRAM
BEETHOVEN Sonata for Fortepiano and Basset Horn, Op. 17 (arr. Friedlowsky)
BEETHOVEN 12 Variations on ‘Ein Mädchen oder Weibchen’ from The Magic Flute
MOZART Trio in E-flat major, K. 498 ‘Kegelstatt’
BEETHOVEN Aria con Variazioni from Three Duos, WoO 27
MOZART Piano Sonata in C major, K. 545
BEETHOVEN Piano Trio in B-flat major, Op. 11 ‘Gassenhauer’
Erin Helyard appears courtesy of Pinchgut Opera. Simon Cobcroft appears courtesy of Sydney Symphony Orchestra.
"Erin Helyard shapes the music like you're watching and hearing it being created fresh on the spot for the first time."
— Daily Review
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