Music Chamber

Wolfgang Amadeus Mozart (1756-1791) Piano Trio No. 4 in E major K542

Allegro ~ Andante  ~ Allegro

 

Mozart composed his last three symphonies and his last three piano trios in the same year. The present work, dated June 22, 1788, is the first of the final three. Only four days later Mozart completed his Symphony No. 39 in E-flat (K. 543), and within six weeks he brought to completion No. 40 in G minor (K. 550) and No. 41 in C major (K. 551, the “Jupiter”); the two remaining trios came along in mid-July and late October. While those final symphonies represented the highest level to which that form had yet been raised, the trios were offered as music designed for amateur performers. There is nothing condescending in the writing, however, or the slightest lowering of Mozart's always high standards; indeed, when they were first offered to the public the trios were compared unfavorably with those by various now-forgotten contemporaries, on the grounds that they were “too demanding,” “unapproachable,” and even “bizarre.” To be sure, there was a good deal about them that was virtually without precedent: first of all, their sheer substance, and, no less conspicuously, a change in the status of the stringed instruments. While so many piano trios of this period seem to be little more than solo pieces for the piano with occasional embellishment by the violin and cello, Mozart gave the string instruments more substantial material and a more equal footing. He was so pleased with this one in E major that he immediately suggested to his friend and fellow Freemason Michael Puchberg (whom he was forever hitting up for loans) that they perform it at his house, and in early July he sent the work to his sister in Salzburg, asking her to play it for Michael Haydn (the great Joseph Haydn's brother, who was in service to Mozart's own former employer, the Prince-Archbishop Hieronymus Colloredo. Mozart himself took this trio with him on the German tour in which he apparently introduced his new symphonies; there is a record of his performing it at the Saxon court. E major was a key Mozart sometimes used in his operas to support images of the unusual of the supernatural; he hardly ever used it in his instrumental works, but in this trio it seemed to suit him well for something new in the way of harmonic adventurousness. The two outer movements are striking for their melodic content and (in the finale especially) the concertante writing for each of the three instruments. The central Andante grazioso, in a French rondo form which Mozart used frequently in earlier works, also exhibits a great deal of imagination in its harmonic and contrapuntal treatment.

 

Robert Schumann (1810-1856) Piano Trio No. 2 in F major Op. 80

Sehr lebhaft ~ Mit innigem ausdruck

In mässiger bewegnung ~ Nicht zu rasch

 

For Schumann, the year 1847 was relatively "dry" in terms of composition except for two trios. Marked "Sehr lebhaft" (Very lively), the first movement of the F major Trio is in an ebullient 6/8 meter and cast in sonata form. The hesitant first theme is the almost entirely the property of the violin and cello, which play in parallel throughout. The unusual harmonic adventures that characterize the movement include an emphasis on D major, which becomes the dominant of G major, the harmony of the second theme group. What is unusual is that, in the key of F major, G major functions as the dominant of C major in the works of Schumann's predecessors, not as a key area of its own. The melodic role of the piano increases in the second group, which gives way to an expansive closing theme in the violin over a light accompaniment in the piano. An imitative, contrapuntal episode at the beginning of the development section provides contrast to the homophonic music played thus far, although much of the development is concerned with the lyrical closing theme, which also ends the movement. Contrapuntal layering occurs at the beginning of the second movement, "Mit innigem Ausdruck" (With intimate expression). Dotted rhythms in the string melody contrast with the constant triplets in the piano part, the left hand of which provides yet another layer of melody. Although it begins in D flat major, the movement quickly shifts to A major for a rapid violin line. A central, "Lively" section introduces new, detached material before the highly modified return to the opening. A scherzo with canonic tendencies, the third movement, "In mässiger Bewegung" (In a moderate movement), is in 3/8 meter and begins in B flat minor. In contrast to Schumann's first Piano Trio, Op. 63, the triple-meter movement is in third position. The brief canons appear between the violin and cello at the beginnings of the movement and the contrasting scherzo theme. In the sparse Trio, the imitative passages are between the piano and cello, just before a transformation of the main scherzo theme. A coda brings the movement to a quiet, hesitant close. Marked "Nicht zu rasch" (Not too fast), the Finale returns to F major. The dense piano part dominates the movement as each appearance of the opening idea is further transformed.

 

I N T E R V A L

 

Franz Schubert (1797 – 1828) Piano Trio No. 1 in Bb Major Op 99

Allegro moderato ~ Andante un poco mosso

Scherzo. Allegro ~ Rondo. Allegro vivace

 

Schubert’s two trios are the culmination in the development of equality among the three instruments. With greater technical advances, the piano continued to grow in size and sonority to the point where it could easily overwhelm its two partners. Maurice J.E. Brown writes: "The pianoforte Trio in B flat major nowhere reaches the heights of the G major Quartet, but its humanity, and hence its popular appeal, is greater. The remark that Schubert’s lyrical subjects are unsuitable for development is refuted by the first movement; nothing could be more song-like than the opening theme, and yet it forms the basis of a superbly constructed movement. The instrumentation is admirable, particularly in the controlled use of the pianoforte, which is neither overwhelming nor over-modest in its partnership with the strings. Its soaring flight in the finale is one of the most picturesque touches in Schubert." The B Flat Major Trio is a large-scale work, longer in duration than Beethoven’s Archduke Trio, yet it has a relaxed conversational pace rather than an epic quality one would expect of a work of its length. And here’s an "analysis" of the work found in Ewen’s Musical Masterworks written by Samuel L. Lacier (who?) which has as its virtue, the quality of saying very little in very few words. "The first movement is full of vigor and life, and the second contains one of Schubert’s most inspired melodies. The Minuet is an attractive movement but does not show the individuality of the Finale, which is a rondo with a vast amount of beautiful musical material and with an astonishing figure in 3/2 time which occurs twice, each a variant of musical material previously presented." The B flat Trio was never performed publicly nor published during Schubert’s lifetime. A private performance was given in Vienna on January 28, 1827 with the piano part taken by Carl Maria von Bocklet; a pianist, violinist, and friend of the composer, who first brought many of Schubert’s compositions to the public notice. The string parts were taken by Ignaz Schuppanzigh (Beethoven’s "Milord Falstaff") violin, and Josef Linke on cello; both members of the Schuppanzigh Quartet -Beethoven’s quartet of choice.

 

Formed in 2009, the Fournier Piano Trio was awarded a Leverhulme Chamber Music Fellowship by the Royal Academy of Music for 2010/11. The trio is mentored by renowned pedagogues David Takeno and Christopher Elton and works with Thomas Brandis at the Royal Academy. They are Park Lane Group Young Artists, appearing in the New Year Series at the Southbank in January 2011 and winners of the 2010 Philharmonia Orchestra MMSF and the 2010 Tunnell Trust Award.

 

Taiwanese-British pianist Chiao-Ying Chang has distinguished herself as one of the leading pianists of her generation after winning major prizes in the Leeds, ARD Munich, Taiwan, AXA Dublin and Ettlingen International piano competitions. She studied at the Royal Academy of Music with Christopher Elton and the late Maria Curcio. She is represented by the Young Concert Artists Trust in London. Korean violinist Sulki Yu has currently completed a Masters Degree at the Guildhall School of Music and Drama where she graduated with First Class Honours studying under David Takeno. She is a laureate of the 2006 Yehudi Menuhin and 2007 Szigeti-Hubay International violin competitions. Sulki performs on an Antonio Gagliano violin. Australian cellist Pei-Jee Ng has recently completed his studies with Ralph Kirshbaum at the Royal Northern College of Music. He was winner of both the 2001 Symphony Australia Young Performer of the Year competition and the 2008 Young Concert Artists Trust auditions in London. Pei-Jee performs on a JB Vuillaume cello.