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Home , Piano Trio (Ravel), Trio (Sugarman)

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 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 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 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 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 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 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 , 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. the timbral variety, relying far less on the gives this music its characteristically dark Monday, August 20, 6 pm piano’s traditional role as accompaniment or sonority. The main theme is delayed slightly, tune-bearer. The finale, whatever one thinks and when it first appears—in the first violin— LUDWIG VAN BEETHOVEN (1770 – 1827) of it, presents a sunny relief to the preceding it grows out of the violas’ introduction; String in B-flat Major, gloom. It is well-defined in its Classical many have felt that the movement’s dancing Op. 18, No. 6 (1798-1800) structure, and for once Beethoven avoids second theme echoes the sound of Indian any tempestuous or humorous surprises drums. This movement in moves Beethoven worked for two years on his first that might disturb the gracious serenity and to a quiet close on a cadence derived from string quartets, completing that cycle of good cheer. the main theme. six in 1800, the year he also composed his —Greg Hettmansberger The drums of the Iroquois, however, pound First Symphony. While the quartets were not relentlessly through the Allegro vivo. Dvorák˘ composed in the order they were published, ANTONÍN DVORÁK˘ (1841 – 1904) uses one of the rhythms he heard in Iowa the sixth of the set was, in fact, the last String Quintet in E-flat Major, Op. 97 (1893) as the driving force in this movement: it to be written, and it shows a number of appears immediately in the second viola and unusual features. Many have noted that this Dvorák’s˘ three years in America—from can be heard in various forms throughout is a Quartet that grows more interesting 1892 to 1895, as director of the National the movement. The trio section, and as it proceeds. Beethoven was apparently Conservatory of Music in New York City— lovely, brings an interlude of calm before the experimenting here with making the finale form a distinct chapter in his career. From opening material returns. a weightier and more significant conclusion these years came several of his finest The Larghetto leaves the sound of Indian than the usual high-spirited rondo of scores, including the New World Symphony, drums far behind. It is in theme-and- Classical form. “American” Quartet, and Cello Concerto. variation form, and in fact, Dvorák˘ had Such a shift in emphasis inevitably Enthusiastic Americans claimed that Dvorák˘ written the movement’s main theme before means that the first movement, which had made use of American materials and he left for America. The first viola announces establishes the character of a piece of that these were examples of “American this wistful little tune, and five variations music, will seem less important, and Philip music.” But Dvorák˘ would have none of that, follow. Even before the first variation begins, Radcliffe has called the opening Allegro denouncing “that nonsense about my having however, Dvorák˘ takes the tune through a con brio of this Quartet “lightweight” and made use of original American melodies. I modification that makes the music sound as “superficially Haydnesque.” Yet it is hard have only composed in the spirit of such if it has come directly from a late Beethoven to dislike this spirited opening movement American national melodies.” Dvorák˘ felt quartet; after the energy of Indian drums, with its propulsive exchanges between first that all his music was “genuine Bohemian such heartfelt and intense music comes as violin and cello and its endless energy. The music,” but the “American” Quartet a surprise. movement is remarkably short—its brevity is incorporates a birdcall Dvorák˘ heard in The concluding Allegro giusto is an one of Beethoven’s ways of de-emphasizing America, the New World Symphony evokes energetic rondo that depends heavily (maybe its importance—and the development is spirituals, and the question of specifically a little too heavily) on dotted rhythms. concerned almost exclusively with the American influences on this most Bohemian Dvorák˘ interrupts the busy flow with two opening theme. The first violin lays out the of composers remains tantalizing. different theme groups, both lyric and elegant main melody of the Adagio ma non Dvorák˘ was fascinated by America. A haunting. The music rushes to its close on troppo (the first violin has an unusually train buff, he would sneak away from one of the most exuberant codas Dvorák˘ prominent part in this Quartet), and this idea the Conservatory to watch locomotives ever wrote. develops through a lengthy elaboration. The pounding along New York City’s many Dvorák˘ was quite correct: he was third movement is a scherzo rather than the rail lines. But after his first year in busy Bohemian to the core, and so was his music. minuet of the high-Classical , Manhattan, he took his to Spillville, But this Quintet—and the other scores he and this one is full of cross-rhythms as Iowa—a Czech community—for the summer composed in America—represent a very Beethoven sets three beats against two; the of 1893. There, surrounded by familiar food, special kind of music. It is Bohemian music skittering trio belongs almost entirely to language, and customs, the Dvorák˘ family but Bohemian music flavored sharply by the the first violin before a quick in could escape big-city life and relax. If Dvorák˘ sounds Dvorák˘ heard in America. B-flat Minor leads back to the scherzo. had been amazed by New York City, he found —Eric Bromberger The finale opens with a long Adagio that different kinds of surprises on the American Beethoven calls “La Malinconia.” prairie. Bands of Iroquois Indians came to of this melancholy is unclear. It does not Spillville selling medicinal herbs, and in the seem to reflect anything in Beethoven’s own evening they gave programs of their dances life; perhaps it is a generalized expression of and music. Those impromptu performances an emotional pose. The composer stresses in the cool Iowa twilight had an immediate that it should be played “with the greatest impact on the composer: the beat of delicacy,” and this remarkable music Iroquois drums echoes through this Quintet, proceeds through unexpected modulations composed that same summer. and sharp dynamic contrasts before leading The opening of the Allegro non tanto without pause into the sparkling main is dominated by the husky sound of the section of the finale, marked Allegretto quasi violas—in fact, the prominence of the violas allegro. This music, in a quick 3/8 meter, has

2 2018 Program Notes Week Six 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 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 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. 75. 1886, which he spent at Hofstetten on Lake the mood and C-Minor tonality of the Dvorák˘ felt no hesitation about composing Thun in Switzerland. From the windows first movement. There is nothing of the for amateur musicians. He was adamant of his room Brahms could look out over cheerful rondo-finale here (the movement about the importance of writing for them, the lake to the immense glaciers of the is in modified sonata form). The flickering and while working on these pieces he wrote Bernese Oberland, and some have felt half-lights of the subdued opening quickly to his publisher: “I am now writing some that the elemental power of that craggy give way to the same craggy outbursts that small bagatelles for two violins and viola, vista made itself felt in the music Brahms marked the opening movement, and only in and this work gives me just as much pleasure composed there. Certainly the Piano Trio its final moments does Brahms relent and as if I were composing a great symphony; in C Minor communicates tension from its let the music break free to end in the tonic what do you say to that? They are, of course, opening instant. A description of an early major. Rarely has C Major sounded so fierce. intended for amateurs, but didn’t Beethoven performance of this Trio, with Brahms at —Eric Bromberger and Schumann also write quite insignificant the piano, suggests the composer’s own material, and how?” intensity in this music: “A simple room, a The Terzetto, though, is hardly small upright pianino, the three giants, and “insignificant.” Good-natured as this music Clara Schumann turning over the leaves . . . may be, it demands three accomplished I can see [Brahms] now looking eagerly with musicians and shows some unusual technical those penetrating, clear, grey-blue eyes, at features. Faced with the challenge of Joachim and Hausmann for the start, then writing for three high voices (string quartet lifting both of his energetic little arms high minus the cello), Dvorák˘ had to provide a up and descending ‘plump’ on that first full palette and a bass line. He C-Minor chord . . . as much as to say: ‘I mean accomplished this by frequent multiple- THAT.’” For all its power, though, the Trio in stopping and by the viola’s active role in C Minor is probably Brahms’s most concise underpinning the harmony. One of the other work: despite being in four movements, it surprising aspects of the Terzetto is the is almost the shortest of his 24 pieces of freedom with which Dvorák˘ chooses keys. chamber music. The first movement opens in C Major, the The opening of the Allegro energico second in E Major, the third in A Minor. The explodes off the page, driving forward on finale begins in F Major, moves through the triplet rhythm that will energize much D-flat Major, and concludes in the of the movement. A warmer second subject, unexpected key of C Minor. marked cantando and scored for the strings

3 2018 Program Notes Week Six ERIC BROMBERGER earned his doctorate in American Literature at UCLA and taught for 10 years before quitting to devote himself to his first love, music. A violinist, Bromberger writes program notes for the Minnesota , Washington Performing Arts at The Kennedy Center, San Francisco Performances, University of Chicago Presents, La Jolla Music Society, San Diego Symphony, and many other organizations. He has been a pre-concert lecturer for the Los Angeles Philharmonic since 1999.

GREG HETTMANSBERGER has contributed criticism and features to the Los Angeles Times, L.A. Weekly, Los Angeles Daily News, Performing Arts, and the Santa Barbara News-Press and was a staff writer for Los Angeles Opera, for which he has written two yearbooks. This is his 23rd season of writing program notes for the Santa Fe Chamber Music Festival. He currently contributes articles to Madison Magazine and writes the blog WhatGregSays at www.whatgregsays.wordpress.com, co-hosts the radio program “Sacred Choral Classics,” and provides annotations for the New Mexico Symphonic Chorus.

HANNELORE N. ROGERS has been the editor of the Santa Fe Chamber Music Festival’s program book for 11 years. A writer/editor based in Omaha, Nebraska, her current and past clients also include the New York Philharmonic, the Hong Kong Philharmonic Orchestra, the National Arts Centre Orchestra (Canada), the National Arts Centre English Theatre (Canada), Handel and Haydn Society, Choral Arts Philadelphia, and Omaha Chamber Music Society, among others. Prior to her work as a freelance writer she was the marketing director of the Pittsburgh, , and New Mexico symphony .

4 2018 Program Notes Week Six