Music Chamber

PART OF THE FEBRUARY TRIO SERIES ORGANISED IN ASSOCIATION WITH THE PIANO TRIO SOCIETY

 

Amaryllis Piano Trio – Susanna MacRae (piano), Hailey Willington (violin), Karoline Brevik (cello) perform:

 

 

Piano Trio in C major, Hob XV:21 -  Joseph Haydn (1732 – 1809)

Adagio pastorale – vivace assai ~ Molto andante ~ Finale: Presto

 

This is one of three trios written in London in 1794/1795 and dedicated to Princess Maria Josepha, wife of Prince Nicholas of Esterházy. There is some uncertainty as to the exact number of Piano Trios which Haydn wrote, but there is no doubt that the later works, mainly written after Mozart’s death and around the time of Haydn’s second visit to London, show a composer making full use of his skills, whether in his use of form, brilliant keyboard writing or the many examples of innovations which were to lead to the classical piano trio in the hands of Beethoven. They continue to surprise and delight with their many harmonic adventures into remote keys and enharmonic modulations. The early piano trios of Haydn were written with the harpsichord in mind and reflect the Baroque Trio Sonata, but by the time these late works were composed, the piano was the favoured instrument. Haydn was particularly impressed with English pianos so his time in London resulted in some of the most adventurous keyboard writing of the time, which has been favourably compared with Mozart’s Piano Concertos! By comparison, the string writing is less innovative but even this is full of the most imaginative writing using devices such as doubling, and double stopping, extended solo passages for the violin and various contrapuntal devices. Although it is frequently claimed that the role of the cello is merely to double the left hand of the keyboard, this is by no means the case and the writing for the instrument shows the composer’s awareness of texture and emphasis. Early keyboard instruments lacked the power of modern pianos, necessitating some reinforcement of the bass, but even when a piano is used, the cello line is vital to the balance of the whole.  

© Christine Talbot-Cooper 

 

Piano Trio no 5 in D major, Op 70 no 1 “Ghost” – Ludwig van Beethoven (1770-1827)

Allegro vivace e con brio ~ Largo assai ed espressivo ~ Presto

 

The two trios of Opus 70 were written in 1808 during a prolific period which also saw the composition of the fifth and sixth symphonies. This trio in D major is the only one of Beethoven’s piano trios to be written with three movements, all the others being in four, and here we find that the elements of composition have moved on considerably from earlier trios, possibly because of the greater scope afforded by the development of the piano with its larger compass and dynamic range. The title “The Ghost” derives from the slow movement of the work which is based on a fragmentary theme that first appeared among Beethoven’s sketches for a witches’ scene from an opera based on Macbeth which was never completed and is set in the key of D minor. Here the drumming figures in the strings and various devices used by the piano all help to create an air of menace and mystery. The two outer movements, whilst retaining the structure of sonata form, also contain unusual key structures with strong emphasis in both movements of the unrelated keys of B flat major and F major. The first movement contains much thematic development, not all of it occurring in the long and complex development section, and much interesting contrapuntal writing. In contrast to the grand scale of the opening movement, the final movement is full of high spirits and serves to dispel the tensions of the central movement so that the trio ends with a flourish!

© Christine Talbot-Cooper

 

Three Nocturnes – Ernest Bloch (1880 - 1959)

Andante ~ Andante quieto ~ Tempestoso

 

Ernest Bloch was one of many composers who emigrated to America in the early decades of the twentieth century. Born in Geneva,  Bloch studied in Brussels, Frankfurt and Paris before moving to America in 1916.  Early works show the influence of his time in Europe, but he is perhaps best known for his music which shows a strong Jewish influence. The Three Nocturnes were composed in 1924 and show different aspects of the night. The first one is gentle and full of mystery with tentative and broken melody, but by contrast the second one features long lyrical phrases reminiscent of a lullaby. The third Nocturne takes us on a stormy journey which is interrupted by a return of the theme from the second Nocturne, before vanishing into thin air!

© Christine Talbot-Cooper

 

Oblivion – Àstor Piazzolla  (1921-1992) arr. Jose Bragato

Astor Piazzolla composed Oblivion for chamber ensemble in 1982.  Jose Bragato subsequently arranged it for piano trio in 1984. Oblivion is quite possibly Piazzolla’s most famous tango and became immensely popular following its use in Marco Bellochio’s film Henry IV, The Mad King. The piece is slow, beautiful and reflective -  qualities which are unexpected the Tango Nuevo style. 

 

The Amaryllis Piano Trio formed in November 2009 during their first year at the Royal College of Music. They enjoy playing a wide range of repertoire covering periods from Haydn to Shostakovich and styles including Piazzolla’s Tango Nuevo. Following their enthusiastically acclaimed June debut in the newly refurbished Parry Rooms of the RCM, the trio has been booked for a busy 2010/11 concert season. This includes appearances on the RCM concert schedule as well as recitals around greater London, dates in Devon, and a spring tour of the Channel Islands. The trio has performed in masterclasses given by renowned chamber musicians such as Simon Rowland-Jones, former violist of the Chilingirian String Quartet and eminent  British Pianist Susan Tomes. Outside of the concert hall the trio engages in outreach work ranging from music workshop presentations with school children to performing and engaging with the elderly. The Amaryllis Piano Trio receives regular coaching from members of the Sacconi String Quartet and are chamber music students of Nigel Clayton.