Early, Middle & Late

Cellist George Ross joins fortepianist Linda Nicholson playing an original 1814 Fritz fortepiano to explore Beethoven's cello sonatas. Whilst the Opus 5 sonatas were the first ever written for this combination with a truly independent cello part, Opus 69 reveals true equality and partnership between the cello and piano for the first time. In the latter period, Beethoven executes a new compositional innovation, when the first movement’s main theme makes its return in the second amid the darkness of the second slow introduction of the piece, a practice that had not been previously heard. Op. 102, No.1 is a landmark chamber work marking the definitive entry point into this late period, defined by unconventional musical forms, dense counterpoint, and intimate introspection.

Linda Nicholson is regarded as the foremost British fortepianist of her generation and an authority on early keyboard performance through the unique collection of instruments she has nurtured over forty years. George Ross studied for his master’s degree at the Royal Conservatory in the Hague, and has worked with such groups as the Hanover Band, The English Concert, Academy of Ancient Music, Dunedin Consort, Orchestra of the Age of Enlightenment, The King’s Consort, and Arcangelo, and is cellist of the hugely successful Consone Quartet, who have been SSEMK Artists-in-Residence over the last four seasons.