With Ensemble DeNOTE at the end of April I spent two exciting days in Peterborough at their Music Education Hub, led by their inspirational manager, Geoff Ellerby. The visit took in 4 Primary Schools (with pupils from 3 other Primaries visiting on two occasions), and 2 secondaries, along with a CPD training workshop for local peripatetic instrumental teachers – concentrating on Mozart Chamber Music. Over 1000 pupils reached!

Two concerts of Mozart and his Viennese contemporaries in May: the first at Wallingford Chameleon Arts (Oxfordshire), including Schwencke’s fascinating 1805 arrangement of the Gran’ Partita for Quintet of Clarinet, strings and fortepiano; and the second at All Saints, Putney, (Mozart’s “Kegelstatt” Trio, and sonatas by Vanhal and Haydn).

Next up is a world premiere of Robert Percival’s arrangement of Mozart’s Double Concerto K.365 for two fortepianos and classical wind sextet (2 London performances on 14 and 16 June), then shorty after a solo Haydn recital at the Fondazione Cini, Venice (10 July).

Then at the end of July Lythe Chamber Music – a specialist historical performance residential course (26-30 July) held in the glorious coastal location of Lythe in the North York Moors. 5 days of total immersion in historical keyboards (built by Johannes Secker) and keyboard performance, and three recitals (including the Bach French Suites nos.1-3).


My article deconstructing my 2014 recording of Haydn Piano Sonatas (CD now in the final edit stage), “Creating Haydn’s Sonatas at the Keyboard – Performer Rights and Responsibilities in Historical Performance“, Musicology 16 (2014), pp.31–46 has now been published (May 2015).

Forthcoming: Contracted articles for The Cambridge Encyclopedia of Historical Performance in Music and a commissioned chapter on Mozart’s Benefit concerts in London (1764-5) for a projected CUP volume on Music and Theatre in the 18th-century.