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46Th SEASON PROGRAM NOTES Week 6 August 19 th SEASON PROGRAM NOTES 46 Week 6 August 19 – 20, 2018 Sunday, August 19, 6 pm type of quicker Allegro), but the overall life—outpouring of great music occur? feeling is of a relaxed gentility rather than It was partly due, in all likelihood, to the FRANZ JOSEPH HAYDN (1732 – 1809) anything too “slow.” There are but four composer’s growing belief that, while he Piano Trio in G Major, Hob. XV:25, “Gypsy” variations, and while the pianist is given could not be completely at peace with his (1795) the lion’s share of the spotlight, the violin growing deafness, he was confident that leads in the first variation (surprisingly in the he would fulfill his artistic destiny in spite One of the reasons that composers such as minor key) and the third. of that tragedy. And with his fecundity Beethoven were able to break away from The Poco adagio moves to E Major, further came great profit: Beethoven received 100 total dependence on the noble or clerical brightening the sonic landscape. Just before ducats of gold from the publishing house of aristocracy for employment was that, in the close Haydn flirts with the minor mode, Breitkopf & Härtel for a package including the second half of the 18th century, a mainly to prepare us for the G-Major home Symphonies No. 5 and 6, the Cello Sonata middle class for music evolved. Haydn, in key return in the finale. This is the famous No. 3, and the two piano trios, Op. 70. As his later years, was the first of the truly “Rondo all’Ongarese,” marked Presto. While they say, cheap at twice the price! great composers to take full advantage of Haydn is not as famous as some composers The contrast between the compelling this path; if Mozart had lived even a decade for quoting or being influenced by folk greatness of a finished product such as longer, he almost certainly would have influences, any of his uses of “gypsy” the present “Ghost” Trio and the daily done so as well. This information is by way material recalls the musical melting pot in realities of Beethoven’s life at this time are of explaining, in part, why the piano trios which he was raised. The region of Rohrau, vividly brought to life by his contemporary of Haydn (31 in all) have remained in near Austria, where Haydn was born, is the region colleague Ludwig Spohr. On hearing a obscurity until relatively more recent times. where Austria, Hungary, and Slovenia all rehearsal of this work in Beethoven’s The examples in the genre best known to overlapped. We do find more examples of house he wrote: “It was not an enjoyable us, beginning with the early Romantics— this type of musical borrowing in his London experience. To begin with, the piano was Mendelssohn and Schumann—are written period works where anything Eastern terribly out of tune, a fact which troubled for three fully independent players. European had a tinge of the exotic to it. A Beethoven not at all as he could not hear More importantly, they were written for textbook rondo form displays a rondo theme it. Furthermore, little or nothing remained professional players. Early Classical examples (designated “A”) with differing episodes of the brilliant technique which used to be appealed to trained amateurs. intervening: a typical rondo structure might so admired. In loud passages the poor deaf Like the early duo sonatas of the Classical look like ABACABA. But Haydn rarely settled man hammered away at the notes smudging period, early piano trios gave so much for “textbook” structures (he was far more whole groups of them, and one lost all sense leverage to the piano that they could often likely to blaze a new path), and this sparkling of the melody unless one could follow the be played as keyboard sonatas. Even in finale is ABACADA. A fiddling flavor emerges score. I felt deeply moved at the tragedy of it Haydn’s best trios the cello rarely takes a solo in the “B” episode and is immediately all. Beethoven’s almost continual melancholy turn (although it does play a more crucial, if followed by the cellist’s first chance to take was no longer a riddle to me.” subtle, role than just doubling the bass line a solo turn. The opening Allegro shares with the of the piano). But by the time of this so- —Greg Hettmansberger second movement the device of introducing called “Gypsy” Trio the violin is indispensable the two principal themes almost at once. and the cello nearly so. Haydn composed LUDWIG VAN BEETHOVEN (1770 – 1827) Typical of Beethoven’s practice at this time, a dozen such works during his two trips to Piano Trio in D Major, Op. 70, No. 1, “Ghost” the recapitulation is more than mere recap London in the 1790s, and three of them, (1808) but further develops the themes. The power including tonight’s offering, were dedicated of the central Largo is so great that some to Rebecca Schroeter, a widow with whom The two trios of Opus 70 come near the commentators have been led to dismiss Haydn shared a romantic affair. end of the most fertile creative period the finale as “trifling.” The slow movement Haydn was a great lover and practitioner in Beethoven’s life. From the “Eroica” is the cause of the work’s nickname, as of the theme-and-variations form. Typically Symphony, Op. 55, to the “Emperor” Beethoven uses material first sketched we find it in slow movements (the second Concerto, Op. 73, nearly one publication around this time for the Witches’ Scene movement of the Symphony No. 94, after another is an undisputed masterpiece. for an operatic treatment of Macbeth that “Surprise,” for example), but here he employs How did this unprecedented—and never never materialized. It is nearly unique in it in the very beginning of the work. It is an to be duplicated in as short a time span the composer’s output for his use of the Andante (most first movements are some as the four years of this portion of his piano for purely musical “special effects” of Program notes for Music at Noon Concerts are sponsored by Barbara & Ronald Balser with thanks to the gifted Festival musicians who inspire us all. some of the feel of a waltz, and once again The four brief movements require little in octaves, brings some relief, but this the first violin does most of the dancing. comment. The first two are both lyric, movement remains taut throughout: Brahms Beethoven brings back several reminiscences open gently, and feature more animated omits the exposition repeat and keeps both of “La Malinconia” near the close, but the material in the development. The third development and recapitulation quite short. music finally dashes to its close on the movement is a Scherzo in A-B-A form. Its The opening theme returns only in the sunny waltz music, now accelerated to outer sections show some similarity to the closing moments and drives the movement a Prestissimo. furiant, a Bohemian folk dance, while the to an unrelenting close. —Eric Bromberger middle section is a genial waltz. Longest of The Presto non assai, also in C Minor, is the movements, the finale is in theme-and- more restrained. Brahms mutes the strings ANTONÍN DVORÁK˘ (1841 – 1904) variations form; the theme itself is marked and marks the beginning semplice (“simple”); Terzetto in C Major, Op. 74 (1887) Poco adagio, but the five variations are the music skims along fluidly in the piano, quick-paced. Dvorák˘ toys with the listener by with the strings following and echoing. The A terzetto is simply a trio. In opera it moving through several different keys as he middle section, with arpeggiated pizzicato denotes a piece for three voices, but in announces the theme. Only eventually does chords riding above the staccato piano, is chamber music it usually means a trio for it settle into C Major, and then, as we have particularly effective. some combination other than violin-cello- seen, he concludes in the unexpected key of Much has been made of the rhythmic piano. It is in the latter sense that Dvorák˘ the tonic minor: C Minor. complexity of the Andante grazioso. Brahms uses the term, for his Terzetto is scored for This all sounds technical, but the listener originally thought the movement should the unusual combination of two violins should not be put off by it. Dvorák’s˘ Terzetto be set in the unusual meter of 7/4 but later and viola. He wrote it in the space of a is as genial, attractive, and good-spirited as changed this to one measure of 3/4 followed week in January 1887, originally intending anything he ever wrote. by two measures of 2/4. The middle section, that he would play the viola and that an —Eric Bromberger marked quasi animato, continues the amateur violinist would play first violin. The rhythmic complexities, switching between music turned out to be too difficult for the JOHANNES BRAHMS (1833 – 1897) 9/8 and 6/8. Brahms alternates sonorities amateur, and Dvorák˘ compensated for this Piano Trio in C Minor, Op. 101 (1886) throughout this movement, the melodic line by writing a somewhat easier set of pieces flowing back and forth between the piano for him. Arranged by the composer for violin Brahms wrote this Trio—his last for violin, and the combined strings. and piano, this set is known today as the cello, and piano—during the summer of The Allegro molto finale returns to Four Romantic Pieces, Op.
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