Emanuel Ax Leonidas Kavakos Yo-Yo Ma WHEN: VENUE: Thursday, BING March 1, 2018 cONcErT haLL 7:30 PM Artists Notes Emanuel ax Leonidas Kavakos yo-yo Ma Brahms took his chamber music Piano Violin Cello seriously and re-energized the medium for the later 19th century, raising it to the highest level of achievement. his Program original plan was to bookend his output with the two versions of the B major Johannes Brahms (1833–1897) piano trio, written a quarter of a century apart—and then retire. But the Trio No. 2 in C Major, Op. 87 (1880–2) expressive musicality of the Meiningen court clarinetist propelled him to add a Allegro moderato coda of four more glorious chamber Andante con moto works as the finale of his creative life. Scherzo: Presto With an overall catalog of 24 widely Finale: Allegro giocoso varied chamber compositions spanning four decades, it’s arguably the piano trios that best marry the medium with Trio No. 3 in C minor, Op. 101 (1886) the message. Before Brahms, Allegro energico Beethoven had found his voice in the string quartet; schubert, for the most Presto non assai part, found his in the string quintet and Andante grazioso schumann his, in the piano quintet. It’s Allegro molto in the piano trio that Brahms finds the most comfortable, natural vehicle for —Intermission— his carefully crafted compositions. Trio No. 1 in B Major, Op. 8 (1853–4, rev. 1889) From the opening, gloriously expansive unison string melody, the Piano Trio No. Allegro con brio 2, in C, Op. 87 represents Brahms at the Scherzo: Allegro molto height of his creative powers. he was Adagio 49 when he completed the score in Finale: Allegro 1881. contemporary with the trio are the B-flat Piano concerto and the string Quintet in F, while five years Opus 3 artists ahead lay the double concerto for 470 Park avenue south • 9th Floor North • New york, Ny 10016 violin, cello and orchestra, whose sound world is so clearly previewed in 212-584-7500 • www.opus3artists.com this trio. “you have not yet had such a beautiful trio from me,” he wrote to his publisher, “and very likely have not yet This program is generously supported by Marcia and John Goldman. published one to equal it within the last ten years.” he began the first movement in 1880, following it with the final three two years later, when he was staying in one of his favorite holiday PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you. locations, Bad Ischl, high in the 2 austrian alps. The first, a powerfully way that offers little release in the simplified its structure and used its driven movement, includes much tension. The movement, in common themes as the building blocks of what writing for the two strings in unison and with much of his later chamber music, is is essentially a new work. It is one third its two subsidiary themes animate also one of his tautest structures and, as shorter than the original. What is much of the compact development. in Op. 87, Brahms omits the traditional striking about the process is that This is among the shortest of opening repeat of its first section (the exposition). Brahms sustains the youthful energy of movements in Brahms’s chamber “Laconic” is how his close friend and the first version. “I did not provide it catalogue. a theme and five variations frequent correspondent Elisabet von with a wig,” he said in a manner on a somewhat melancholy theme herzogenberg described the movement. calculated to confuse, “I just arranged with a hungarian flavor, make up the “smaller men,” she wrote, “will hardly its hair a little!” It is this revised version, slow movement. Piano and strings trust themselves to proceed so written after a lifetime of composition complement one another throughout, laconically without forfeiting some of and after almost one hundred almost as a duo. The scherzo third what they want to say.” published works, that is usually played movement is hushed, even stealthy and today. Brahms jokingly referred to it as nocturnal, with a heart-warming The scherzo is understated, almost his Op. 108, rather than his Op. 8. central trio that casts a glance back to aphoristic, inhabiting a shadowy world the work’s opening theme. The finale is of allusion and half-lights. The strings In the ‘new’ Op. 8, Brahms retains the upbeat, its striving main theme are muted throughout, and the music lyrical opening theme. It is instantly reaching ever forward towards a rarely rises above a piano. “I am recognizable as Brahmsian, being triumphant conclusion. Brahms happier tonight than I have been for a characteristically nutty brown in color, immediately sent his completed score long time,” clara schumann wrote somewhat wistful in mood. Its expansive for approval to his friend, pianist clara after hearing this movement. The slow nature, on the scale of Beethoven’s schumann. “I love every moment,” she movement is a brief, wistful dialogue Archduke Trio, ensures that the broad wrote. “What wonderful development between the two strings and the piano, sweep of the opening movement will sections! how beautifully one motif, with the three instruments only remain, though this is virtually all that one figure peels away to reveal the infrequently playing together. does remain from the early version of next! how delightful the scherzo is. Originally drafted with a 7/4 time- the trio. Other Brahmsian thumbprints, Then the andante, with its charming signature, the music effortlessly slips like hemiola patterns and additional theme, which much surely sound from two to three beats to the bar and rhythmical shifts, add new energy and idiomatic in the register of the double the textures of the unaccompanied direction to the music. The deftly octaves, altogether free of artifice. how string duo again offer a preview of the scurrying scherzo pays homage to fresh the last movement is, and how double concerto, the work Brahms Mendelssohn. Together with its broadly interesting in its artistic combinations!” was to compose the following year. lilting, waltz-like trio, it is virtually The determined finale, with its unchanged from the 1854 publication. clara schumann was equally unpredictable cross-rhythms, remains The slow movement has a clear, three- enthusiastic about the Piano Trio No. 3, in shrouded in the minor key until part form. Its solemn, chorale-like C minor, Op. 101, written when Brahms sunlight warms the coda to a opening again shows the influence of was 53. she found it “wonderfully triumphant conclusion. the Archduke trio but speaks in Brahms’s gripping…No previous work of mature voice. The questioning B minor Johannes has so completely carried me The Piano Trio in B, Op. 8 is both the first cello theme that opens the finale, away,” she wrote in her diary. “What a and last work Brahms wrote in the introduces a note of disquiet and work it is, inspired throughout in its medium of piano trio. he wrote the first restlessness. But it immediately gives passion, its power of thought, its version in 1853-4 and published it as his way to a brightly assertive d major gracefulness, its poetry.” The opening Op. 8. Then, late in life, in 1889, when a second theme that introduces a movement is one of Brahms’s most new publisher acquired rights to his valedictory tone to the movement. intense sonata form movements; even chamber music compositions, Brahms although the music ends in the minor, his normally mellow second theme is took the opportunity to re-write the its mood is confident and hard-won. here ardent and forward-driving in a piece. he tightened its expansive style, —© 2018 Keith Horner 3 Biographies wife, pianist yoko Nozaki, with whom he or familiar works from the cello has two children. he is a Fellow of the repertoire, collaborating with american academy of arts and sciences communities and institutions to explore EMANUEL AX and holds honorary doctorates of music culture’s social impact, or engaging Born in modern day Lvov, Poland, from yale and columbia universities. unexpected musical forms, Mr. Ma strives Emanuel ax moved to Winnipeg, canada, to foster connections that stimulate the with his family when he was a young boy. LEONIDAS KAVAKOS imagination and reinforce our humanity. he is a winner of the young concert artist Greek violinist Leonidas Kavakos is award, arthur rubinstein International recognized as an artist of rare quality, Mr. Ma founded silkroad to promote Piano competition, Michaels award and known for his virtuosity, superb cross-cultural performance and the avery Fisher Prize. musicianship and the integrity of his collaborations at the edge where playing. By age 21, Kavakos had won education, business, and the arts come In partnership with david robertson, he three major competitions: the 1985 together to transform the world. he is a begins the current season with six sibelius competition, and the 1988 member of the silkroad Ensemble Mozart concerti over two weeks in st. Paganini and Naumburg competitions. which tours annually and for whom Louis, repeating the project in sydney in he was the first to record the original more than 80 works have been February. Following the gala opening of sibelius Violin concerto (1903/4), which specifically commissioned. Mr. Ma also the Philadelphia Orchestra’s season he won the 1991 Gramophone concerto of serves as the Judson and Joyce Green returns to the orchestras in cleveland, the year award. Over the years Kavakos creative consultant to the chicago New york, san Francisco, Boston, has developed close relationships with symphony Orchestra’s Negaunee Music houston, Ottawa, Toronto, Indianapolis, some of the most prestigious orchestras Institute.