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The Jupiter Project
Bristol Keyboard Festival
Part of the St Georges Bristol Autumn/Winter 2018 Season
Add to my Calendar 03-11-2018 12:00 03-11-2018 14:00 36 The Jupiter Project As Mozart’s reputation grew in the nineteenth century, three great virtuosos of the pianoforte recomposed his overtures, symphonies and concertos, adding many more notes to suit a more flamboyant style of playing on a much larger instrument. But instead of a full orchestra, Clementi, Cramer and Hummel wrote for a quartet of piano, violin, flute and cello. On nineteenth-century instruments the results are both exciting and beautiful – and the Broadwood instrument that David Owen Norris plays here belonged to the family of Florence Nightingale. The dates inscribed on the piano suggest that it was purchased in an attempt to put her off the idea of nursing!Before the concert, Professor Mark Everist, author of Mozart’s Ghosts, will lead a session with the performers, explaining how the concert repertoire fits into the larger picture of how Mozart’s image has changed over the centuries, with live and recorded examples to demonstrate what is going on. St George's Bristol, Bristol DD/MM/YYYYDetails
St George's Bristol
Great George Street
Bristol
BS1 5RR
England
Programme
Wolfgang Amadeus Mozart – The Magic Flute: Overture (arr. Hummel)
Wolfgang Amadeus Mozart – Piano Concerto no.21 in C major, K.467
Wolfgang Amadeus Mozart – The Marriage of Figaro: Overture (arr. Hummel)
Wolfgang Amadeus Mozart – Symphony no.41 in C major 'Jupiter', K.551
Performers
Caroline Balding – violin
Katy Bircher – flute
Richard Tunnicliffe – cello
David Owen Norris – piano
Other concerts in this Season
Programme Note
As Mozart’s reputation grew in the nineteenth century, three great virtuosos of the pianoforte recomposed his overtures, symphonies and concertos, adding many more notes to suit a more flamboyant style of playing on a much larger instrument. But instead of a full orchestra, Clementi, Cramer and Hummel wrote for a quartet of piano, violin, flute and cello. On nineteenth-century instruments the results are both exciting and beautiful – and the Broadwood instrument that David Owen Norris plays here belonged to the family of Florence Nightingale. The dates inscribed on the piano suggest that it was purchased in an attempt to put her off the idea of nursing!
Before the concert, Professor Mark Everist, author of Mozart’s Ghosts, will lead a session with the performers, explaining how the concert repertoire fits into the larger picture of how Mozart’s image has changed over the centuries, with live and recorded examples to demonstrate what is going on.
