DOCSLIB.ORG

Trio Transformations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Trio Transformations concert program v: Trio Transformations JOHANN SEBASTIAN BACH (1685–1750) July 31 and August 1 Trio Sonata no. 4 in c minor, BWV 1017 (ca. 1720) Siciliano: Largo Wednesday, July 31, 8:00 p.m., Stent Family Hall, Menlo School Allegro Adagio Thursday, August 1, 8:00 p.m., The Center for Performing Arts Allegro at Menlo-Atherton WOLFGANG AMADEUS MOZART (1756 –1791) PROGRAM OVERVIEW Piano Trio in G Major, K. 496 (1786) Allegro Like the string quartet, the piano trio is a musical tradition that Andante came into its own only after Bach’s death. Nevertheless, the Tema con variazioni: Allegretto – Adagio – Tempo primo piano trio repertoire remains indebted to Bach’s art. His sonatas INTERMISSION for violin and keyboard—typically performed with cello aug- menting the continuo, and which C. P. E. Bach referred to as JOHANNES BRAHMS (1833–1897) “harpsichord trios”—set a model for keyboard-and-strings writing Piano Trio no. 3 in c minor, op. 101 (1886) Allegro energico that Mozart and Brahms would affirm in subsequent generations. Presto non assai A hallowed tradition beauti fully disintegrates in Café Music, Paul Andante grazioso Schoenfield’s crack at “a kind of high-class dinner music,” which Allegro moderato CONCERT PROGRAMSCONCERT draws on Bach, Brahms, and Broadway. PAUL SCHOENFIELD (b. 1947) Café Music (1987) Jeffrey Kahane, piano; Joseph Swensen, violin; Carter Brey, cello SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals with gratitude for their generous support: July 31: Lindy Barocchi and also to Kris Klint August 1: Michèle and Larry Corash Paul Klee (1879–1940). Abstract Trio, 1923. Watercolor and transferred printing ink on paper, bordered with gouache and ink. © ARS, NY Music@Menlo 2013 Program Notes: Trio Transformations JOHANN SEBASTIAN BACH begins with a quick-tempo Allegro as the first of its five movements. Though (Born March 21, 1685, Eisenach; died July 28, 1750, Leipzig) the limpid rhythms and pastoral nature of the siciliano that begins the Sonata Trio Sonata no. 4 in c minor, BWV 1017 no. 4 in c minor derive from an old dance of Sicily, the music’s mood and even the contours of its melody recall the profoundly moving mezzo-soprano aria Composed: ca. 1720 Erbarme dich from Bach’s St. Matthew Passion: “Have mercy on me, Lord/ Fifteen Inventions for Keyboard, BWV Other works from this period: Regard my bitter weeping.” The following Allegro is a spacious movement of 772–786 (ca. 1720); Six English Suites, BWV 806–811 (1720); Brandenburg serious demeanor and richly varied counterpoint. The third movement drapes Concerti, BWV 1046–1051 (1721); Six French Suites, BWV 812–817 (ca. a poignant violin melody upon a cushion of gently insistent triplets in the 1722) keyboard. The sonata closes with a brilliant fugal Allegro. Approximate duration: 18 minutes —Dr. Richard E. Rodda From 1717 to 1723, Bach was Director of Music at the court of Anhalt- Cöthen, north of Leipzig. He liked his job. His employer, Prince Leopold, WOLFGANG AMADEUS MOZART was a well-educated man, twenty-four years old at the time he engaged (Born January 27, 1756, Salzburg; died December 5, 1791, Vienna) Bach. (Bach was thirty-two.) Leopold was fond of travel and books and paintings, but his real passion was music. He was an accomplished musician Piano Trio in G Major, K. 496 who not only played violin, viola da gamba, and harpsichord well enough to Composed: 1786 join with the professionals in his household orchestra but also had an excep- Other works from this period: Detailed in the notes below tional bass voice. He started the court musical establishment in 1707 with Approximate duration: 27 minutes three players (his puritanical father had no use for music), and by the time of Bach’s appointment, it had grown to nearly twenty performers equipped Among Mozart’s most loyal friends during his last years in Vienna were with a fine set of instruments. It was for this group that Bach wrote many the members of the Jacquin family. The paterfamilias, Nikolaus Joseph of his outstanding instrumental works, including the Brandenburg Concerti, von Jacquin, whom Mozart met through their mutual affiliation with the orchestral suites, violin concerti, and much of his chamber music. Leopold Masonic lodge, was a distinguished botanist and professor of chemistry appreciated Bach’s genius (his annual salary as Court Conductor was four at Vienna University who instilled the love of music in his children, Joseph hundred thalers, equal to that of the Court Marshal, Leopold’s second- Franz (twenty-one in 1787), Gottfried (nineteen), and Franzisca (eighteen). highest official), and Bach returned the compliment when he said of his Mozart was very fond of the Jacquins and visited them frequently to share prince, “He loved music, he was well acquainted with it, he understood it.” their dinner, play his music for them, and keep Franzisca up with her les- Bach was himself a skilled string player during those years. His son Carl sons when she proved to be one of his most talented piano students. For Philipp Emanuel recalled, “He played the violin cleanly and penetratingly. the entertainment of the household, Mozart composed (for Franzisca) the He understood to perfection the possibilities of the stringed instruments.” remarkable Piano Sonata for Four Hands (K. 497) and the Piano Trio in He composed most of his chamber works for violin, including the three B-flat Major (K. 502) during the summer and autumn of 1786, another trio and three partitas for unaccompanied violin and the six sonatas for sonatas later that year (K. 498, for clarinet, viola, and piano, known as the Kegelstatt), violin and keyboard (often augmented by a melody bass instrument, such and the K. 521 Sonata in 1787, as well as a bass aria (Mentre ti lascio, o figlia, as the cello at this performance), before he left Cöthen in 1723. K. 513) for brother Gottfried and several smaller pieces. Rounding out these As with every genre that he took up, Bach brought the development of PROGRAMSCONCERT delightful souvenirs of Mozart’s friendship with the Jacquins was the Trio the Baroque duo sonata to its zenith with his six violin sonatas, BWV 1014– for Piano, Violin, and Cello in G Major (K. 496), which he finished on July 1019. The twin forms of the sonata—for solo instrument with accompaniment 8, 1786. and for two treble instruments with the same supporting players—had ges- Mozart composed just six works for the convivial combination of tated in Italy early in the preceding century and been nurtured into mature piano, violin, and cello, one of the most popular home entertainment musical media by Arcangelo Corelli in the first five sets of his published works. genres among the dilettantes of Vienna during the decades around the The solo and trio sonatas were further categorized according to use and style turn of the nineteenth century. (Haydn wrote more than forty such trios and as the (“church sonata,” serious in expression and imitative sonata da chiesa Beethoven, eleven.) Except for the Trio in B-flat, K. 254 (which he desig- in texture) and the (“chamber sonata,” lighter in mood and sonata da camera nated as a “divertimento” in the manuscript), composed in Salzburg in 1776, dance-like in idiom). Bach’s most important technical contribution to the duo Mozart’s pieces cluster tightly in the years 1786 (K. 496 and 502) and 1788 sonata was in fully notating the keyboard part rather than just indicating the (K. 542, 548, and 564). These works were devised with some care to appeal customary chord symbols below the bass notes, which the players realized at to the lucrative amateur market, and the Viennese firm of Artaria made their discretion. This specificity allowed Bach to raise the keyboard from its three of them (K. 502, 542, and 548) available to the city’s music lovers role as accompanist to that of equal partner by using the right hand to play an in November 1788. (These pieces were intended to be played in “friendly, independent melodic line, so that his examples of the form exhibit a richness musical, social circles,” according to the composer.) As was typical of the of texture that approaches that of the trio sonata. genre at that time, Mozart’s trios entrusted the piano with the lion’s share of The six violin sonatas largely follow the structure and style of the sonata the musical task at hand; it doesn’t just provide the harmonic background da chiesa—four movements (slow–fast–slow–fast), imitative in texture, seri- for the ensemble but takes the lead in presenting the themes, proposing ous in expression—though one (no. 4 in c minor, BWV 1017) admits a lilting how they should best be worked out and appropriating such flights of virtu- siciliano as its opening movement and another (no. 6 in G Major, BWV 1019) osity as are allotted by the composer. As the genre developed in the later works of Haydn and those of Beethoven, the strings were allowed a greater www.musicatmenlo.org equality with the keyboard, so that such a work as Beethoven’s Archduke his friend Joseph Widmann, a poet and librettist of considerable distinction, Trio of 1811 exhibits a true democracy among the participants. convinced Brahms to join him in the ancient Swiss town of Thun, twenty-five Mozart’s Trio in G Major (K. 496) represents an intermediate point in kilometers south of Bern in the foothills of the Bernese Alps. Brahms rented the development of the form between the earliest examples, in which the a flower-laden villa on the shore of Lake Thun in the nearby hamlet of Hof- piano was “accompanied” by the virtually dispensable violin and cello, and stetten and settled in for a long, comfortable summer.
Load more

Recommended publications
  • Bach 759 - J.S
    BACH 759 - J.S. BACH: The Six TRIO SONATAS on the Pedal Harpsichord ______________________________________________________________________________ The Trio Sonata is very much a “Baroque” form, if not a Baroque invention. A three- or four-movement piece, tuneful and light, suitable for family home entertainment, the Trio Sonata normally featured two treble instruments: for example, violin and flute or oboe, with a bass instrument and harpsichord to fill out the harmonies. Instruments used would be whatever was available - home music-making was a popular pastime, and reached a high standard of proficiency. Bach was not satisfied, however, to relegate the bass line to simple accompaniment. An early example of Bach’s Trio Sonatas may be found, surprisingly perhaps, in his Sonatas for Violin and Clavier, BWV 1014-1019 (Baroque Music Collection BACH 719-20), in which the “Trio” consists of Violin, plus the two hands of the Clavier score, each of the three having equal prominence, each participating equally in the fun, with the melody and counterpoint passing freely from one to the other. The Six Trio Sonatas for Two Keyboards and Pedal (für zwey Claviere und Pedal) were composed much later, and in addition to equality between the three parts, provide an extra feature in the form of a severe technical challenge. Forkel, Bach’s first biographer, who drew heavily on the reminiscences of Carl Philip Emmanuel Bach, states categorically that Bach composed these Trio Sonatas in order to perfect the pedal technique of his son Wilhelm Friedemann, an objective which, as Forkel adds, appears to have been admirably achieved. Thus, despite the lively, tuneful character of these almost dance-like pieces, they do in fact conceal a wealth of technical difficulties - almost traps - for the player, particularly in demanding total independence of hands and feet.
    [Show full text]
  • MUSIC in the BAROQUE 12 13 14 15
    From Chapter 5 (Baroque) MUSIC in the BAROQUE (c1600-1750) 1600 1650 1700 1720 1750 VIVALDI PURCELL The Four Seasons Featured Dido and Aeneas (concerto) MONTEVERDI HANDEL COMPOSERS L'Orfeo (opera) and Messiah (opera) (oratorio) WORKS CORELLI Trio Sonatas J.S. BACH Cantata No. 140 "Little" Fugue in G minor Other Basso Continuo Rise of Instrumental Music Concepts Aria Violin family developed in Italy; Recitative Orchestra begins to develop BAROQUE VOCAL GENRES BAROQUE INSTRUMENTAL GENRES Secular CONCERTO Important OPERA (Solo Concerto & Concerto Grosso) GENRES Sacred SONATA ORATORIO (Trio Sonata) CANTATA SUITE MASS and MOTET (Keyboard Suite & Orchestral Suite) MULTI-MOVEMENT Forms based on opposition Contrapuntal Forms FORMS DESIGNS RITORNELLO CANON and FUGUE based on opposition BINARY STYLE The Baroque style is characterized by an intense interest in DRAMATIC CONTRAST TRAITS and expression, greater COUNTRAPUNTAL complexity, and the RISE OF INSTRUMENTAL MUSIC. Forms Commonly Used in Baroque Music • Binary Form: A vs B • Ritornello Form: TUTTI • SOLO • TUTTI • SOLO • TUTTI (etc) Opera "Tu sei morta" from L'Orfeo Trio Sonata Trio Sonata in D major, Op. 3, No. 2 1607 by Claudio MONTEVERDI (1567–1643) Music Guide 1689 by Arcangelo CORELLI (1653–1713) Music Guide Monteverdi—the first great composer of the TEXT/TRANSLATION: A diagram of the basic imitative texture of the 4th movement: Baroque, is primarily known for his early opera 12 14 (canonic imitation) L'Orfeo. This work is based on the tragic Greek myth Tu sei morta, sé morta mia vita, Violin 1 ed io respiro; of Orpheus—a mortal shepherd with a god-like singing (etc.) Tu sé da me partita, sé da me partita Violin 2 voice.
    [Show full text]
  • Alla Zingarese August 5 and 6
    Concert Program V: Alla Zingarese August 5 and 6 Friday, August 5 F RANZ JOSEph HAYDN (1732–1809) 8:00 p.m., Stent Family Hall, Menlo School Rondo all’ongarese (Gypsy Rondo) from Piano Trio in G Major, Hob. XV: 25 (1795) S Jon Kimura Parker, piano; Elmar Oliveira, violin; David Finckel, cello Saturday, August 6 8:00 p.m., The Center for Performing Arts at Menlo-Atherton HErmaNN SchULENBURG (1886–1959) AM Puszta-Märchen (Gypsy Romance and Czardas) (1936) PROgram OVERVIEW CharlES ROBERT VALDEZ A lifelong fascination with popular music of all kinds—espe- Serenade du Tzigane (Gypsy Serenade) cially the Gypsy folk music that Hungarian refugees brought to Germany in the 1840s—resulted in some of Brahms’s most ANONYMOUS cap tivating works. The music Brahms composed alla zinga- The Canary rese—in the Gypsy style—constitutes a vital dimension of his Wu Han, piano; Paul Neubauer, viola creative identity. Concert Program V surrounds Brahms’s lusty Hungarian Dances with other examples of compos- JOHANNES BrahmS (1833–1897) PROGR ERT ers drawing from Eastern European folk idioms, including Selected Hungarian Dances, WoO 1, Book 1 (1868–1869) C Hungarian Dance no. 1 in g minor; Hungarian Dance no. 6 in D-flat Major; the famous rondo “in the Gypsy style” from Joseph Haydn’s Hungarian Dance no. 5 in f-sharp minor G Major Piano Trio; the Slavonic Dances of Brahms’s pro- Wu Han, Jon Kimura Parker, piano ON tégé Antonín Dvorˇák; and Maurice Ravel’s Tzigane, a paean C to the Hun garian violin virtuoso Jelly d’Arányi.
    [Show full text]
  • Euphonium Repertoire List Title Composer Arranger Grade Air Varie
    Euphonium Repertoire List Title Composer Arranger Grade Air Varie Pryor Smith 1 Andante and Rondo Capuzzi Catelinet 1 Andante et Allegro Ropartz Shapiro 1 Andante et Allegro Barat 1 Arpeggione Sonata Schubert Werden 1 Beautiful Colorado DeLuca 1 Believe Me If All Those Endearing Young Charms Mantia Werden 1 Blue Bells of Scotland Pryor 1 Bride of the Waves Clarke 1 Buffo Concertante Jaffe Centone 1 Carnival of Venice Clark Brandenburg 1 Concert Fantasy Cords Laube 1 Concert Piece Nux 1 Concertino No. 1 in Bb Major Op. 7 Klengel 1 Concertino Op. 4 David 1 Concerto Capuzzi Baines 1 Concerto in a minor Vivaldi Ostrander 1 Concerto in Bb K.191 Mozart Ostrander 1 Eidolons for Euphonium and Piano Latham 1 Fantasia Jacob 1 Fantasia Di Concerto Boccalari 1 Fantasie Concertante Casterede 1 Fantasy Sparke 1 Five Pieces in Folk Style Schumann Droste 1 From the Shores of the Mighty Pacific Clarke 1 Grand Concerto Grafe Laude 1 Heroic Episode Troje Miller 1 Introduction and Dance Barat Smith 1 Largo and Allegro Marcello Merriman 1 Lyric Suite White 1 Mirror Lake Montgomery 1 Montage Uber 1 Morceau de Concert Saint-Saens Nelson 1 Euphonium Repertoire List Morceau Symphonique Op. 88 Guilmant 1 Napoli Bellstedt Simon 1 Nocturne and Rondolette Shepherd 1 Partita Ross 1 Piece en fa mineur Morel 1 Rhapsody Curnow 1 Rondo Capriccioso Spears 1 Sinfonia Pergolesi Sauer 1 Six Sonatas Volume I Galliard Brown 1 Six Sonatas Volume II Galliard Brown 1 Sonata Whear 1 Sonata Clinard 1 Sonata Besozzi 1 Sonata White 1 Sonata Euphonica Hartley 1 Sonata in a minor Marcello
    [Show full text]
  • Corelli'stonalmodels
    Intégral 31 (2017) pp. 31–49 Corelli's Tonal Models: The Trio Sonata Op.3, No. 1* by Christopher Wintle Abstract. British thought is typically pragmatic, so a British reception of the work of Heinrich Schenker will concern itself with concrete procedure at the expense of hypothetical abstraction. This is especially important when dealing with the work of Arcangelo Corelli, whose work, along with that of others in the Franco-Italian tradi- tion, holds the key to common-practice tonality. The approach of the British author is thus to construct a set of concrete linear-harmonic models derived from the fore- ground and middleground techniques of Schenker and to demonstrate their han- dling throughout the four movements of a representative trio sonata (Op. 3, No. 1). In this essentially “bottom-up” project, detailed discussion of structure readily merges into that of style and genre, including dance and fugue. The text is supported by many examples and includes a reprint of the trio sonata itself. Keywords and phrases: Arcangelo Corelli, Heinrich Schenker, trio sonata, tonal models, fugue. Introduction poser or a single school,” nevertheless suggested that it was Corelli who “was the first to put the tonal formu- here appears to have been no doubt in the minds of las to systematic use.” Christopher Hogwood (1979, 41), on T many of those who have written about the Baroque the other hand, cites two eighteenth-century sources to era that the music of Arcangelo Corelli bore an extraordi- suggest that Corelli’s achievement was one more of man- nary significance, and one that extended far beyond his ner than of matter: according to Charles Burney, he says, having made a remarkable contribution to the repertoire “Corelli was not the inventor of his own favorite style, of solo, chamber, and concerted violin music.
    [Show full text]
  • Ax/Kavakos/Ma Trio Sunday 9 September 2018 3Pm, Hall
    Ax/Kavakos/Ma Trio Sunday 9 September 2018 3pm, Hall Brahms Piano Trio No 2 in C major Brahms Piano Trio No 3 in C minor interval 20 minutes Brahms Piano Trio No 1 in B major Emanuel Ax piano Leonidas Kavakos violin Yo-Yo Ma cello Part of Barbican Presents 2018–19 Shane McCauley Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome A warm welcome to this afternoon’s incarnation that we hear today. What is concert, which marks the opening of the striking is how confidently Brahms handles Barbican Classical Music Season 2018–19. the piano trio medium, as if undaunted by the legacy left by Beethoven. The concert brings together three of the world’s most oustanding and Trios Nos 2 and 3 both date from the 1880s charismatic musicians: pianist Emanuel and were written during summer sojourns Ax, violinist Leonidas Kavakos and – in Austria and Switzerland respectively. cellist Yo-Yo Ma. They perform the three While the Second is notably ardent and piano trios of Brahms, which they have unfolds on a large scale, No 3 is much recorded to great critical acclaim.
    [Show full text]
  • RICE UNIVERSITY Beethoven's Triple Concerto
    RICE UNIVERSITY Beethoven's Triple Concerto: A New Perspective on a Neglected Work by Levi Hammer A THESIS SUBMITTED IN PARTIAL FULFULLMENT OF THE REQUIREMENTS FOR THE DEGREE: Master of Music APPROVED, THESIS COMMITTEE: Brian Connelly, Artist Teacher of Shepherd School of Music Richard Lavenda, Professor of Composition, Chair Shepherd School of Music Kfrl11eti1Goldsmith, Professor of Violin Shepherd School of Music Houston, Texas AUGUST2006 ABSTRACT Beethoven's Triple Concerto: A New Perspective on a Neglected Work by Levi Hammer Beethoven's Triple Concerto for piano, violin, and violoncello, opus 56, is one of Beethoven's most neglected pieces, and is performed far less than any of his other works of similar scope. It has been disparaged by scholars, critics, and performers, and it is in need of a re-evaluation. This paper will begin that re-evaluation. It will show the historical origins of the piece, investigate the criticism, and provide a defense. The bulk of the paper will focus on a descriptive analysis of the first movement, objectively demonstrating its quality. It will also discuss some matters of interpretive choice in performance. This thesis will show that, contrary to prevailing views, the Triple Concerto is a unique and significant masterpiece in Beethoven's output. CONTENTS Chapter 1: Introduction 1 Chapter 2: General History of Opus 56 2 Beethoven in 1803-1804 Disputed Early Performance History Current Neglect History of Genre Chapter 3: Criticism and Defense I 7 Generic Criticism Thematic Criticism Chapter 4: Analysis of the First Movement 14 The Concerto Principle Descriptive Analysis Analytic Conclusions Chapter 5: Criticism and Defense II 32 Awkwardness and Prolixity Chapter 6: Miscellany and Conclusions 33 Other Movements and Tempo Issues Other Thoughts on Performance Conclusions Bibliography 40 1 Chapter 1: Introduction The time is 1803, the onset of Beethoven's heroic middle period, and the time of his most fervent work and most productive years.
    [Show full text]
  • “Stolen Music” Debussy Prélude À L’Après-Midi D’Un Faune, Arr
    Press Release For immediate release Linos Piano Trio Prach Boondiskulchok (piano) Konrad Elias-Trostmann (violin) Vladimir Waltham (cello) “Stolen Music” Debussy Prélude à l’après-midi d’un faune, arr. Linos Piano Trio Dukas L’apprenti sorcier, arr. Linos Piano Trio Schönberg Verklärte Nacht, arr. Eduard Steuermann Ravel La Valse, arr. Linos Piano Trio Watch the Introductory Video CAvi-music in partnership with the Bayerischer Rundfunk Cat. No: AVI_8553035 Release: 18 June 2021 This new recording from the Linos Piano Trio presents four iconic works from the turn of the 20th Century. The three French works, transcribed for piano trio by the Linos players themselves, are recorded for the first time here, while the Verklärte Nacht arrangement harks back to the inception of the Linos Piano Trio in 2007. Transcriptions have long served as a precursor to modern day recordings. Works for larger ensembles were transcribed for smaller groups to make music at home, and the piano trio was among the favourite combinations for this purpose, with its rich sonic possibilities apt at recreating the orchestral sound. This aspect of the genre has fascinated the Linos Piano Trio from the beginning, its first ever performance being of Schönberg’s Verklärte Nacht in the arrangement by Eduard Steuermann. Since 2016, the Linos Piano Trio has been taking this idea further, creating a series of its own transcriptions with the aim of reimagining each work as if originally conceived for piano trio. The transcriptions are all created collaboratively, evolving through experimentation and refinement, seeking the most colourful distillation of the original versions.
    [Show full text]
  • PROGRAM NOTES the Level of Intimacy Is Even More Pronounced in the Third Movement, Aptly Named Tears and Specifically Inspired by Words from the Russian Poet Tyutchev
    JANUARY 29, 2016 – 7:30 PM FRANZ JOSEPH HAYDN Trio for Violin, Cello and Piano in G Major, Hob. XV:25, “Gypsy” Andante Poco adagio cantabile Gypsy Rondo Andrew Wan violin / Astrid Schween cello / Anton Nel piano ALEXANDER BORODIN String Quintet in F minor Allegro con brio Andante ma non troppo Menuetto Finale: Prestissimo—Adagio—Prestissimo Tessa Lark violin / Scott Yoo violin / Che-Yen Chen viola / Bion Tsang cello / Yegor Dyachkov cello INTERMISSION SERGEI RACHMANINOFF Suite No. 1 for Two Pianos, Op. 5, “Fantaisie-tableaux” Barcarole A Night for Love Tears Russian Easter Gloria Chien piano / William Wolfram piano SEASON SPONSORSHIP PROVIDED BY DIANA CAREY FRANZ JOSEPH HAYDN energetic rondo theme alternating with a series (1732–1809) of similarly scurrying episodes, the music hurtles Trio for Violin, Cello and Piano in G Major, forward with unstoppable momentum. Hob. XV:25, “Gypsy” (1795) ALEXANDER BORODIN Franz Joseph Haydn, whose combined string (1833–1887) quartets and symphonies account for almost 200 String Quintet in F minor (1853–54) works in his ample canon, wrote 45 piano trios plus more than a hundred others for the extinct Alexander Borodin was undoubtedly history’s most baryton (the cello-like instrument played by the successful amateur composer, treating music as a composer’s employer at the Esterháza estate in beloved hobby secondary to his dual profession as Hungary). Note that his piano trios fall under the a chemist and surgeon. His musical education was heading “Keyboard Music” in the current Grove scanty, that in chemistry quite the contrary. Scientific Dictionary. Why? Simply because until the trios journals of the time praised his scientific work, of Beethoven and Schubert, the cello and violin while fellow composers—spurred by the advocacy parts were more-or-less discretionary, in large of Balakirev—applauded his musical efforts.
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.
    [Show full text]
  • Piano Trio Discography & Review Index
    An A to Z of the Piano Trio Repertoire Discography & Review Index: N, O, P & Q Composers Compiled by David Barker Project Index Eduard Nápravnik Dacapo 8226009 1839-1916, Czech/Russia (+ Wind quintet, Fantasy pieces, Moderen) Dacapo 8.226064 Trio 1 in G minor, op. 24 (1876) Spyros Piano Trio Unknown performers (+ Trio 2, Melancolie) (+ Character pieces, Duet, Fantasy pieces, MDG 90319966 [review][review] Polka, String quartet 1, Violin sonata 1) Kontrapunkt 32231 Trio 2 in D minor, op. 62 (1897) Spyros Piano Trio (+ Trio 1, Melancolie) Svend Hvidtfelt Nielsen MDG 90319966 [review][review] 1958-, Denmark Divertimento (1993) Paul Natorp Trio Ismena 1854-1924, Germany (+ Koch, Norholm 3, Gudmundsen-Holmgreen: Moments musicaux, Hegaard: Like a Cube of Trio in e Silence) Dacapo 8226583 [review] Yuri Favorin, Liudmila Frayonova, Nikolay Shugaev (+ Cello sonata, Violin sonata, Henry Cotter Nixon Phantasiestucke, Prelude & fugues) 1842-1907, UK Querstand VKJK1519 Trio 1 in C London Piano Trio Sergiu Natra (+ Mendelssohn 1) 1924-, Israel Guild GMCD7392 Trio in One Movement (1971) Anders Nordentoft Yuval Trio 1957-, Demark (+ Partos: Fantasia, Seter, Shalit: Divertimento & works for cello/piano) Doruntine (1994) Romeo 7231 Jalina Trio (+ Holmboe, A Koppel 1, Norgard: Spell, Carl Nielsen Nyvang: ...erosion) 1865-1931, Denmark Classico CLASSCD485 Trio in G, FS 3i (1883) Trio Ondine (+ Holmboe: Trio, Nuigen, Nielsen, Norgard: Trio Ondine Spell) (in “The Masterworks Vol. 2”) Dacapo 8226009 Dacapo 8206003 (+ Holmboe: Trio, Nuigen, Nielsen, Nordentoft: Doruntine, Norgard: Spell) MusicWeb International Updated: July 2019 Piano Trios: N, O, P & Q Composers Ib Norholm Smetana Trio 1931-, Denmark (+ Smetana, Suk) Supraphon SU38102 Trio No. 3 'Essai in memoriam' Op.
    [Show full text]
  • Guide to Repertoire
    Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well).
    [Show full text]