* This event will not be going ahead on this date due to the South Australian coronavirus lockdown. We encourage ticket holders to sit tight as we work through our rescheduling options in the coming week, and will send updates via email as new information becomes available.


Experiencing Beethoven's cycle of five sonatas for piano and cello in one day places performers and audiences in an especially intimate proximity to Beethoven. Emerging from the three major creative periods of his lifetime, these works represent a microcosm of Beethoven's extraordinary trajectory. The two sonatas Op. 5 (1796) effectively create the medium – inspired by the playing of famous French cellist brothers Duport, these substantial works chart new territory for cello and piano. The Sonata in A, Op. 69 (1808) epitomises the classical duo sonata, the cello and piano now fully evolved as equal partners in a delightfully unfolding interplay of radiant beauty. And with the two sonatas Op. 102 (1815) we enter the transcendent world of late Beethoven, a world characterised by a highly concentrated and potent musical language in which vast scope and scale are attained by way of the simplest means. It is significant that in forging these visionary paths, Beethoven looks back to J.S Bach: an epic fugue forms the final movement of the Sonata in D, Op. 102 No. 2, bringing the cycle to an ecstatic and decisive conclusion.

Contemplating these works as a cycle, Beethoven's disposition seems distinctly sunny: the fierce mood of the opening movement of the Sonata in C, Op. 102 No. 1 is overcome by the exuberant joy of its last movement; even the Sonata in G minor, Op. 5 No. 2 (the only sonata cast in a minor key) turns from tumultuous drama to gleeful humour. Could Beethoven's creative collaborations with the various cellists that inspired and helped shape these works have contributed to their predominantly positive spirit? Rendering the cycle at this moment in time, through a similarly close collaborative dialogue between cellist and pianist, we cannot help but imagine and reflect on the creative collaborations that may have manifested in tangible and intangible ways in these works. These performances offer us all – performers and audiences alike – an opportunity to enter into a special kind of imaginative dialogue with Beethoven, and to inhabit the remarkable world of these creations.

– Aura Go and Timo-Veikko Valve

Full Package includes two concerts (11.30am and 2.30pm) and a light lunch.

Two Concert Pass includes two concerts (11.30am and 2.30pm).

Timo-Veikko Valve | Cello
Aura Go | Piano


PART ONE | 11.30AM

Ludwig van Beethoven (1770–1827)
Sonata for Cello and Piano No. 1 in F, Op. 5 No. 1 (1796)

I. Adagio sostenuto – Allegro
II. Rondo. Allegro vivace

Sonata for Cello and Piano No. 4 in C, Op. 102 No. 1 (1815)

I. Andante – Allegro vivace
II. Adagio – Tempo d’andante – Allegro vivace

Sonata for Cello and Piano No. 3 in A, Op. 69 (1807–08)

I. Allegro ma non tanto
II. Scherzo. Allegro molto
III. Adagio cantabile – Allegro vivace

Followed by Light Lunch


Ludwig van Beethoven (1770–1827)
Sonata for Cello and Piano No. 2 in G minor, Op. 5 No. 2 (1796)

I. Adagio sostenuto e espressivo – Allegro molto più tosto presto
II. Rondo. Allegro

Anton Webern (1883–1945)
Sonata for Cello and Piano (1914)

Two Pieces for Cello and Piano (1899)

I. Langsam (F major)
II. Langsam (G major)

Drei kleine stücke, Op. 11 (1914)

I. Mäßige Achtel
II. Sehr Bewegt
III. Äusserst Ruhig

Ludwig van Beethoven (1770–1827)

Sonata for Cello and Piano No. 5 in D major, Op. 102 No. 2 (1815)

I. Allegro con brio
II. Adagio con molto sentiment d’affetto – Attacca
III. Allegro – Allegro fugato

| Each concert will run for approximately one hour without interval

Photo Credits
Timo-Veikko Valve: Jason Capobianco
Aura Go: Keith Saunders


The wellbeing of our audience and artists is our first priority. We've implemented a number of measures to make your experience at UKARIA as safe as possible.


UKARIA holds an SA Health approved COVID-Safe Plan enabling us to host events at full capacity (220 people), provided all patrons wear masks.

Checking In

Upon arrival, we require all patrons to register their details for contact tracing. Checking in is quick and easy:

  • Download or log in to the free mySA Gov app
  • Scan the QR code (located in the concert hall foyer) with your phone's camera
  • Enter your name and phone number
  • Follow the prompts
  • Done – you're checked in!

If you do not have a smartphone, or experience any issues checking in on your device, don't panic: we will have a sign-up sheet available in the foyer where you can manually write down your details. Please see our front-of-house team in the foyer, who will be able to assist you.


All seats are general admission. If you require mobility-impaired access, please let us know by emailing [email protected]or phoning (08) 8227 1277.

Hand Sanitiser

Hand sanitiser will be provided in the foyer and temporary bar (see below for more information).

Entering the Auditorium

The doors of the auditorium will open approximately thirty minutes prior to the start time of the event. Please see our front-of-house team in the foyer, who will check your ticket details and direct you to an usher who will help you find your seats.


Architect Anton Johnson's design for the new alfresco space, visualised by perspective artist Michael Blazewicz

In response to the wonderful growth of our cultural program, our alfresco area will be reconfigured to provide a larger and more comfortable space for patrons to enjoy at all times of the year.

Our architect Anton Johnson has designed the space to maintain the existing atmosphere and connection with the landscape, and truly embrace the garden and surrounding views. The space will be fully enclosed, and will include glass sliding doors that can be opened on warm summer days and closed on cooler winter nights. A retractable glass partition will also give us the possibility to create a separate area for small dining groups, functions and pre-concert talks.

A polished concrete floor with in-slab heating will greatly enhance the experience for dinners and lunches. A beautiful hemlock acoustic ceiling (like the one currently used in the concert hall foyer) will reduce the ambient noise during periods of congestion and provide a seamless transition into the concert hall.

In order to facilitate construction for the upgrade, the alfresco area will be closed to the public from the beginning of April until the end of September. This will have a few implications for your UKARIA experience, and will affect this performance. We greatly appreciate your understanding and flexibility.

Temporary Bar:
Refreshments and Afternoon Tea

During construction of the new alfresco, refreshments and afternoon tea will be served in our temporary bar at the southern side of the venue, adjacent to the Ngeringa Vineyards. Please exit the concert hall and head towards the artists' greenroom. Our front-of-house team will be on hand to ensure you find your way.

Toilet Access

During April–September, access to the toilets will be through the concert hall foyer, adjacent to the main entrance of the auditorium, through what was formerly our staff office. There will be signage to ensure the entrance is clearly visible, and our front-of-house team will be on hand to assist you to find your way.

Disabled Parking

There are limited disabled parking bays along the driveway on the right of the property, however we encourage patrons who have difficulty walking up the garden paths to attend events with a friend who can drop them near the top before returning down to the main car park at the bottom of the garden. The parking bays near our alfresco (usually reserved for mobility-impaired access) will not be available from April–September.

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