Music Chamber

Robert Schumann (1810 – 1856)  Phantasiestücke Op 88

Romanze ~ Humoreske ~ Duett ~ Finale

 

This work was written in 1842 and was later revised for publication in 1850, by which time three further piano trios had been written. The early venture into the piano trio medium was undertaken at the same time as the composition of the Piano Quintet Op 44 and the Piano Quartet Op 47 and this may explain the modest scale of this work, compared with the later piano trios. Character pieces were very popular with Schumann at the time and so the title for these four miniature movements is reminiscent of many of his other compositions. In the Romanze, the piano dominates with the strings playing more of an accompanying role. The piano has a prominent role also in the second movement which is in a lively rondo form. At last the strings come into their own as they embark on a lyrical dialogue with piano accompaniment in the third movement. (This movement was often used as an encore by the Israel Piano Trio, who announced it as a duet for three!) The final movement has a march-like theme with all three instruments fully employed and the movement ends with a final flourish. © Christine Talbot-Cooper 2012

 

Ludwig van Beethoven (1770 -1827)   Piano Trio in B flat major Op 97 “Archduke”

Allegro moderato ~ Scherzo: Allegro – coda ~ Andante cantabile, ma però con moto – Poco più adagio – Tempo I ~ Allegro moderato – Presto – Più presto

 

This, the last full length piano trio written by Beethoven in 1811, was well received in its day and has continued to be one of the mainstays of the piano trio repertoire since that time. Although deafness was becoming an increasing problem, in this trio we find Beethoven at the height of his powers and his development of the genre in the few years since the death of Mozart had taken the medium to new heights. Here we have the rich textures of the instrumental writing in which the three instruments are regarded as equals, the strong thematic links which give the whole work a sense of unity and the wide ranging emotions expressed by the music. The work was dedicated to the Archduke Rudolph of Austria and received its first public performance in 1814 when Beethoven struggled not only with his deafness but also with an out of tune piano, alternately playing too loud or too soft. The first movement moves at a majestic pace with the piano introducing both themes, the second of which appears in the unexpected key of G major.  The scherzo, usually the third movement but here placed second, is introduced by the cello with an ascending theme which is complemented by a descending phrase by the violin and the trio section, also introduced by the cello, features some interesting chromatic writing. This is followed by a lyrical slow movement which takes the form of a theme in D major with four variations, the fourth of which leads without a break into the final rondo in the home key – a lively extended movement with some quirky methods of modulation, before returning finally to the home key. © Christine Talbot-Cooper 2012 

 

Australian pianist/composer Kitty Xiao was accepted on a scholarship to Victorian College of the Arts Secondary School in 2003. In addition to her piano studies, Kitty began studying composition in 2004 and in 2007 was awarded the Victorian State Premier Award in Music Performance for her outstanding performance in her Piano Trio. Kitty studied at the Melbourne Conservatorium of Music, University of Melbourne and graduated in 2010. Currently she is studying for her Master of Music Performance at Trinity Laban Conservatoire as a recipient of the Alfred Kitchin Scholarship.

 

New Zealander Charmian Keay was a violinist in the NZSO National Youth Orchestra and studied at Dunedin University, New Zealand, She was a full-time member of the Southern Sinfonia, as well being an extra for the Christchurch Symphony Orchestra. She moved to London in 2009 on a scholarship to play in the Southbank Sinfonia. Since 2010 she has been freelancing and performing with various orchestras. She is currently studying for her Post-Graduate Performance Diploma at Trinity on a Scholarship. Charmian plays on a 1769 Leopold Widhalm Lautten violin.

 

American Cellist Carolyn Rosinsky graduated from Johns Hopkins University and studied cello at Peabody Institute. She served as principal cello in the students’ Maryland All-State Symphony Orchestra and the Hopkins Symphony Orchestra and was also active as a chamber musician, winning the Maryland Music Educators’ Association Chamber Music Competition in 2006. A versatile musician, Carolyn studied piano for over ten years with Virginia Reinecke, and has served as musical director of student a-capella singing groups, led youth orchestras, and coached chamber music. Carolyn is currently completing her Music Masters at Trinity on a Music Trust Scholarship.