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Producer James Ginsburg Engineer Bill Maylone Recorded August 24–26 and October 5, 2015 Anne & Howard Gottlieb Hall at T Producer James Ginsburg Engineer Bill Maylone Recorded August 24–26 and October 5, 2015 Anne & Howard Gottlieb Hall at the Merit School of Music, Chicago, Illinois Publishers CLARKE Trio for violin, violoncello, and piano ©1928 Boosey & Hawkes BABAJANIAN Piano Trio in F-Sharp Minor ©1952 Edition Silvertrust MARTIN Trio sur les mélodies populaires irlandaises ©1925 Verlag Gebrüder Hug & Co. Graphic Design Nancy Bieschke Cedille Records is a trademark of Cedillo Chicago, NFP. a not-for-profit organization devoted to promoting the finest musicians and ensembles in the Chicago area. Cedille Chicago’s activities are supported in part by rontributions and grants from individuals, foundations, corporations, and government agencies including Mesirow Financial, The MacArthur Fund for Arts and Culture at Prince, The National Endowment for the Arts, The Negaunee Foundation, Sage Foundation, Irving Harris Foundation, NIB Foundation, and the Illinois Arts Council, a state agency. The project is partially supported by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events. CONTRIBUTIONS TO CEDILLE CHICAGO MAY BE MADE AT CEDILLERECORDS.ORG OR 773-989-2515. CEDILLE RECORDS trademark of Cedille Chicago 1205 W. Balmoral Ave. Chicago, IL 60640, USA 773.989.2515 tel - 773.989.2517 fax WWW.CEDILLERECORDS.ORG CDR 90000 165 P & C 2016 Cedille Records All Rights Reserved. Made in U.S.A Lincoln Trio TRIOS FROM OUR HOMELANDS Desirée Ruhstrat, violin David Cunliffe, cello REBECCA CLARKE Marta Aznavoorian, piano ARNO BABAJANIAN FRANK MARTIN Trio for violin, violoncello, and piano (24:33) Piano Trio in F-Sharp Minor (23:21) Trio sur des mélodies populaires irlandaises (16:00) 1 I. Moderato ma appassionato (10:00) 4 I. Largo (9:53) 7 I. Allegro moderato (4:50) 2 II. Andante molto semplice (5:57) 5 II. Andante (6:58) 8 II. Adagio (5:44) 3 III. Allegro vigoroso (8:28) 6 III. Allegro Vivace (6:23) 9 III. Gigue (5:19) TT: (64:15) TRIOS BY REBECCA CLARKE, ARNO BABAJANIAN, lost twice: first for her Viola Sonata of 1919 and two years movement; it could also be thought of as a song without AND FRANK MARTIN later for her Piano Trio. In 1919 she all-but-tied for the words, which ends with a plaintive violin passage. The Program notes by Andrea Lamoreaux prize with Ernest Bloch. Mrs. Coolidge reportedly said, Allegro vigoroso finale, again aptly headed, is almost upon revealing the name of the runner-up, “You should like a hoedown: the piano dominates the opening, soon Rebecca Clarke, Arno Babajanian, and Frank Martin have seen [the judges’] faces when they saw [the sonata] joined by the violin in a kind of country-fiddling mode. could all be considered outsiders in the history of 20th- was written by a woman.” This was a phenomenon The impression of a dance is inescapable in spite of century classical music. Clarke wrote at a time when practically unheard-of in the early 1920s. The trio — the frequent shifts of meter. A big, passionate central music composition was still very much a male-dominated Clarke once again took second place — was premiered section interrupts the dance, then a quieter portion field. Babajanian was an artistic hero in his native land in London in 1922 by violinist Marjorie Howard, Clarke’s leads back to it for a rousing conclusion. but relatively unknown internationally. Martin grappled cellist friend May Mukle, and pianist Myra Hess. with conflicting stylistic influences for many years in the The writing, noticeably virtuosic for all three players, process of establishing his own voice. Clarke composed songs and a variety of chamber music, includes some special string effects: contrasts between most of it featuring the viola. In her late 50s she married bowed and pizzicato playing, as well as some double- The Lincoln Trio has chosen to highlight major works a former classmate from her Royal College days, pianist- stops. The piano part features reiterated, powerful by these less celebrated composers to bring them composer James Friskin. In spite of his encouragement, chords and rapid runs. The cello often plays in its high some well deserved attention. Another reason they she gradually abandoned her compositional career. range (treble-clef territory), imparting a richness and chose these particular composers was to high-light the She died in New York City at the age of 93. In 2000 the poignancy to melodic figures that sound subtly different countries of origin of the three members of the group: Rebecca Clarke Society was founded to promote her from the violin’s sonority when it plays in the same range. England, Armenia, and Switzerland. Thus the album music. title, Trios from our Homelands. Arno Babajanian (1921–1983) was a child prodigy from a Those first London listeners in 1922 heard a trio full musical family; his father was an accomplished player of Rebecca Clarke (1886–1979) began her musical studies of attractive melodies combined and presented in Armenian folk instruments. The noted composer Aram on the violin but switched to the viola at the suggestion a context of virtuosity and musical ingenuity. The Khachaturian, one of the most famous and influential of her principal teacher at London’s Royal College of marking Moderato ma appassionato well characterizes of Armenian musicians, recommended that Babajanian Music, the eminent composer-professor Sir Charles the rhapsodic first movement, which begins with an enter the Yerevan Conservatory when he was still just a Villiers Stanford. She learned the3 viola from another emphatic piano passage. We next hear from the cello schoolkid. He later studied both piano and composition eminent British musician, Lionel Tertis, and was soon before all three instruments join together. The opening at the Moscow Conservatory, then returned to Yerevan supporting herself as a freelance orchestral musician. motto returns in various guises to unify the movement, to teach at that city’s conservatory, establishing his This was before World War I, when female professional which contains a second, more lyrical theme. The moods three-pronged career as a professor, pianist, and musicians were scarce. It was during the war years that of agitation and peace alternate and often feature composer. He undertook a number of concert tours she first visited the U.S., which would eventually become the violin and cello in close imitation. The ending is in the former Soviet Union while writing his Armenian her home. quiet, setting up the Andante molto semplice middle Rhapsody, Poem-Rhapsody, a cello concerto for Mstislav Clarke had several encounters with Elizabeth Sprague movement, which opens with a quiet, almost folk-like Rostropovich, a variety of piano and chamber music, Coolidge, the famous patron of chamber music whose melody for violin and cello in imitation over subdued popular songs, and some film music. Rostropovich composition contests Clarke entered twice and narrowly piano chords. The word “lullaby” has been applied to this called him “a brilliant composer, fiery pianist, beloved neighbor, and devoted friend for many years — this for highly energetic conclusion. Rapid, almost continuous rather to take the tunes as a starting point to experiment me was wonderful Arno Babajanian, who, despite his piano chords contrast with the string lines, once again with expanding and re-combining them in a context that early death, made a significant contribution to the music often in unison. The final passage has the tempo marking also has remarkable rhythmic interest. of our time.” Maestoso (majestic) and we hear again the complete So this isn’t Irish Night at the karaoke bar, or a jam Babajanian’s Heroic Ballade for piano and orchestra is motto from the trio’s opening that has generated so session on St Patrick’s Day. The first movement often cited as one of his major creations, inspired by much of what has come before. It gives way to a frenzy is marked Allegro moderato — Allegro marcato, Armenian folk melodies and indebted to Rachmaninoff of final chords and runs, emphasized by the dynamic marcato meaning strongly-defined rhythm. The violin for its rich keyboard sonorities. Other influences on marking sf (sforzando), indicating particularly strong and and cello get the first tune, a dance-like theme over Babajanian’s music were the works of Khachaturian, sudden accents. subdued piano accompaniment. As the pace picks Prokofiev, and Bartók (the last two, like him, notable The best known trio on this album is the Martin, which up, the piano becomes more prominent, introducing pianists). His 1952 Piano Trio in F-Sharp Minor was occasionally appears on chamber-music programs another melody. Then we hear from the cello, whose premiered the following year with the composer at the and has been recorded several times. It’s still a work passage is picked up by the violin. In a progress of ever piano joining violinist David Oistrakh and cellist Sergei that should be played more often: a brief but unusual more complex rhythmic shifts, the movement proceeds Knushevitsky. treatment of folk melodies in a concert-music format. to a big climax for all three players. Babajanian’s debt to tradition is perhaps reflected in that Frank Martin (1890 –1974) was born in Geneva, the In the Adagio, the cello opens with a mournful his is the only work on this album with a key signature son of a clergyman who didn’t particularly encourage minor-mode melody, the piano follows with a in its title. He begins in the stated F-sharp minor but his musical interests. Moving from Geneva to Zurich, variant of it, and the violin enters with yet an- wanders significantly from it over the course of the trio’s Rome, and eventually Paris, Martin absorbed many other variant. The texture is punctuated with off-beat three movements.
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