Luscious Romantic works for cello and piano; Daniel Yeadon, cello and Neal Peres Da Costa, piano. The Sydney-based duo, members of the dynamic Ironwood ensemble, will draw on their extensive research to explore the intriguing performance practices of the nineteenth century – expressive portamenti, heavenly rubati and rippling arpeggiandi. Immerse yourself in the uniquely combined sounds of a beautiful antique cello by William Forster 11 and a replica of a 19^thcentury Streicher piano.

Daniel Yeadon, cello by William Forster II, London 1789
Neal Peres Da Costa, Viennese grand piano after J.B. Streicher c. 1868

Dr Daniel Yeadon is a Lecturer at the Sydney Conservatorium of Music, University of Sydney, where he teaches cello and viola da gamba, coaches chamber music, and engages in research into learning, teaching and historical performance practices. Daniel has a love of a wide range of musical genres and is an exceptionally versatile cellist and viola da gamba player, performing repertoire from the Renaissance through to Contemporary. Daniel is a passionate chamber musician, playing regularly with Australian Haydn Ensemble, Ironwood, Australian Chamber Orchestra (ACO), Australian Romantic and Classical Orchestra, and Bach Akademie Australia. Originally from the UK, Daniel read physics at Oxford University and then completed his postgraduate studies at the Royal College of Music in London. For many years Daniel was a member of the renowned Fitzwilliam String Quartet and the exuberant period instrument ensemble Florilegium. He has made many award-winning recordings.

Dr. Neal Peres Da Costa is Associate Dean (Research) and Professor of Historical Performance at the Sydney Conservatorium of Music. A world leader in scholarly interpretation, Neal has received high praise for his ground-breaking monograph Off the Record: Performing Practices in Romantic Piano Playing (OUP, 2012) and for the co-edited Bärenreiter edition of Brahms’ Sonatas for solo instrument and piano. Neal was recipient of an Australian Research Council Discovery Project grant (2016) for research into 19th century piano playing. With Clive Brown he has produced the online Performing Practice Commentary to the 2020 Bärenreiter edition of the Beethoven Sonatas for Piano and Violin. Neal regularly performs with Ironwood, Bach Akademie Australia, and Australian Romantic and Classical Orchestra, and has an extensive discography which, most recently, includes chamber music by Brahms, Saint Saëns and Farrenc with Ironwood, Beethoven’s Piano Concertos 1 and 2 with the Australian Haydn Ensemble, and chamber music for cor anglais and piano with Alexandre Oguey.