artistry beyond the notes…



‘A sympathetic, skilful performance of musical democracy in action and a persuasive argument for period instruments.’ The Argus (Brighton Early Music Festival 2012)

DeNOTE GREEN CONCERTStick – as part of our commitment to sustainability, some of our smaller programmes (up to three players) minimise our carbon footprint (and costs) by transporting all the players and instruments in just one vehicle.


With 5* reviews at the Brighton Early Music Festival for its interpretations of Mozart and Beethoven, Ensemble DeNOTE is acquiring a nationwide reputation for its vibrant performances grounded in historical accuracy yet presented in an accessible way. A particular feature of our approach recaptures the techniques of creative improvisation in live performance advocated by all the great Viennese composers. Drawing audiences into the experience of performing music on period instruments whose sounds recapture the expectations of Haydn, Mozart, Beethoven and their contemporaries, we offer novel insights into this familiar repertoire through the magical sounds of period instruments – familiar music as you’ve never heard it before!


moments of real excitement…a wonderfully authentic touch’


Our current programmes include:

Viennese Quartets piano and clarinet quartets by Mozart (K.478 and 317d), Beethoven (Op.16) and Hummel – featuring rarely-heard 18th-century chamber arrangements of sonatas and quintets by Mozart and Beethoven


Mozart’s Grand Party! including Mozart’s “Gran’ Partita” – a celebratory wind serenade, K.361 arranged c.1800 as a quintet for clarinet, violin, viola, cello and piano


Beethoven Bonanza exploring Beethoven’s masterful Trio version (Op.38) of the ever-popular Septet, alongside selected early works for clarinet, violin, cello and piano (Opp.5, 11, 12, 16)


Keeping costs down and offering added value, we transport and tune our own keyboard – a 5-octave Viennese fortepiano made by Paul McNulty (1987 – a copy of an instrument by Anton Walter whose instruments were owned by Haydn and Mozart, and much admired by Beethoven). It has been used on numerous recordings and has been described as ‘surely one of the finest fortepianos in use today’.


Repertoire for these programmes (5, 4 and 3 players) presently includes:

Mozart – Quartet for fortepiano and strings in G minor, K.478

Mozart – ‘Kegelstatt’ Trio for clarinet, viola and fortepiano in E flat, K.498

Mozart – Clarinet Quintet, K.581

Mozart – Quartet for clarinet and strings, K.317d

Mozart – Trio for fortepiano, violin and cello in C, K.548

Mozart – Gran’ Partita, K.361

(arranged, c.1805 as a “Grand Quintet” by C. F. Schwencke)

Mozart – Quintet for fortepiano and winds in E flat, K.452

Mozart – Piano Quartet in E flat, K.452

(arrangement, c.1793 of the Quintet for Piano and Winds)

Mozart – Fortepiano Concerto in F, K.413

(the composer’s own arrangement, 1782/3 for fortepiano and string quartet)

Mozart – Grand Sonate for basset clarinet and fortepiano

(arrangement, c.1809 of the Clarinet Quintet)

Mozart – Sonatas for fortepiano and violin, K.304, K.454


Beethoven – Sonata for fortepiano and cello in G minor, Op.5 no.2

Beethoven – Trio for clarinet, cello and fortepiano, Op.11

Beethoven – Sonatas for fortepiano and violin, Opp. 12, 23 and 24

Beethoven – Piano Quartet in E flat, Op.16

(the composer’s arrangement of the Piano & Winds Quintet)

Beethoven – Quintet for fortepiano and winds in E flat, Op.16

Beethoven – Sonata for fortepiano and basset horn

(arrangement c.1805 by Friedlowsky of the Horn Sonata, Op.17)

Beethoven – Trio for clarinet, cello and fortepiano, Op.38

(the composer’s own arrangement, 1802/3 of the Septet, Op.20)

Stamitz – Sonata for fortepiano and viola in B flat

Vanhal – Sonatas for fortepiano and clarinet

Pleyel – Quintet for fortepiano and winds in C

Lefevre – Sonatas for fortepiano and clarinet



‘superb ensemble playing.’

East Kent Mercury

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