Piano Trio by maclaren1


									into a sentimental ‘duet without words’. A middle-section introduces a mood of
nostalgia, but then the opening melody returns in the strings with florid piano         CONCERTS IN THE 2009/2010 SERIES
accompaniment, creating a peak of emotion which then subsides peacefully.               ALL AT THE SHERWELL CENTRE AT 7.30PM
The G minor Scherzo starts ominously with violin, cello, and piano all entering
in quick succession and chasing each other through several phrases. The piano
takes over with a friendlier scampering melody, easing only slightly in the middle
of the movement for a more jovial theme in the major. When the lightning pace
resumes, the original racing-music alternates with flashes of the jovial theme,
                                                                                        BADKE STRING QUARTET
before the music suddenly evaporates into thin air. The final rondo reverts to the
tragic key of C minor and starts with a leap of a ninth in the cello. This dissonance   Saturday 3 October 2009
embodies the irrepressible spirit of the music. A second theme in E flat, somewhat
more soothing, is soon abandoned to return to the agitated first bars. But this         AQUINAS PIANO TRIO
theme is suddenly broken off, as a solemn chorale in A flat alludes to Bach’s

                                                                                        Saturday 24 October 2009
well-known chorale theme, Vor Deinen Thron, a song of death whose melody
comes from the Geneva Psalter of 1551. In the coda the chorale merges with the
principal theme and is elevated to hymn-like splendour. This device also appealed       MAGGINI STRING QUARTET
to Brahms, who used a similar technique in the finale of his Piano Quartet, Op
                                                                                        Saturday 14 November 2009
60. The two episodes return in final triumph, with the chorale-like theme, now in a
grandiose C major, and followed by reminiscences of the earlier themes, ending a
work of quite unbridled energy.

Programme Notes by Philip R Buttall
                                                                                        FRITH PIANO QUARTET
                                                                                        Saturday 5 December 2009                                                          Piano Trio
                                                                                        SAM HAYWOOD (Piano)
                                                                                        ARISA FUJITA (Violin)
                                                                                        RICHARD BAYLISS (Horn)
                                                                                        Saturday 30 January 2010

Aquinas Piano Trio                                                                      BARBIROLLI STRING QUARTET
The Aquinas Piano Trio is a new, exciting and ambitious chamber group, launched
                                                                                        Saturday 27 February 2010
in March of this year. Ruth Rogers (violin) has worked as a duo with Martin Cousin
(piano) for several years, which included a previous visit to the Sherwell Centre       SARAH-JANE BRANDON (Soprano)
in January 2008. Early in 2009 Ruth reached the final of an International Contest       JAMES BAILLIEU (Piano)
with Martin – the Franz Schubert & Modern Music International Competition in
                                                                                        Saturday 20 March 2010
Graz, Austria, where they were one of only five duos to be selected, from the initial
thirty-seven participants. In October 2008, Ruth was appointed as co-leader of
the Bournemouth Symphony Orchestra.                                                     WIHAN STRING QUARTET
Ruth has also played extensively with Katherine Jenkinson (cello) in the Iuventus       Saturday 17 April 2010                                                             Ruth Rogers (Violin)
Quartet, whose Sherwell Centre debut followed later, in March 2008. All three
players are established solo artists in their own right, and have vast experience                                                                                        Martin Cousin (Piano)
of the chamber-music repertoire. Between them they have an impressive array
of awards and achievements, and have performed at such prestigious venues                                                                                      Katherine Jenkinson              (Cello)
as the Wigmore Hall, Royal Albert Hall, South Bank Centre, Barbican Hall, and
Manchester’s Bridgewater Hall.

They are all major prize-winners from a number of significant competitions,
have all performed concertos with the UK’s leading orchestras, chamber music
at festivals throughout Europe, and have played worldwide, including recent
concerts in Indonesia and Thailand.

The Aquinas Piano Trio recently released its debut CD, which features trios by          Concert details can be found on the website:
Ravel and Saint-Saëns.
                                                                                        www.plyclassical.co.uk and also on www.plymouth.ac.uk/events    7.30pm Saturday 24 October 2009
For further information, please visit the following websites:                           to which programme notes will be added prior to each concert.
                                                                                                                                                            at the University of Plymouth Sherwell Centre
                          Plymouth Chamber Music Trust ...the ‘Wigmore Hall Experience’ without the hassle!
                                                                                            family was joined by the cellist Danilchenko, who had just finished studying at the        fascinated by the contrast of dark, lush greenery against black, jagged, seemingly
PIANO TRIO IN G, HOB.X:25 (‘Gypsy Rondo’)                                                   Moscow Conservatory, and violinist Pachulski. This trio of excellent musicians             inhospitable rocks the searing summer heat contrasted with the abrupt cooling of air-
Franz Joseph Haydn (1732 – 1809)                                                            was required to perform every evening, and their repertoire included Russian               conditioned cars and buildings. Desert Song was written in 1997, with these contrasts
                                                                                            music and works by Beethoven and Schubert.                                                 in mind. The harmonic language is primarily Arabic, but does not adhere to any such
                                                                                                                                                                                       theoretical principles. Elements of Romantic and Classical harmony are also present,
                                                                                            Perhaps it was as a result of this exposure that, soon after, Debussy composed
Andante                                                                                                                                                                                reflecting the city’s cosmopolitan nature, and where string quartets and pianists play
                                                                                            his Piano Trio in G. What were considered compositional weaknesses at the time
Poco adagio, Cantabile                                                                                                                                                                 in many of the bars and performance theatres dotted around. The piece draws on
                                                                                            later became Debussy’s strengths. For example, Debussy frequently uses pedal
Rondo all’Ongarese: presto                                                                                                                                                             many influences and these are woven together throughout the work.
                                                                                            points – bass notes sustained through several changes of harmony above, creating
                                                                                            dissonance and casting decorative elements into relief. His tendency towards               The opening section is a contemplative passage based on the Hejaz scale (used
In 1795 Haydn was completing the second of his two extended visits to London.               modal melodic patterns would, handled with mastery over a decade later, help lend          by the muezzin in the ‘call to prayer’) and represents the stark emptiness of the
After years of obscurity at the Esterházy palace, he suddenly found himself, at             Pelléas et Mélisande its distinctive atmosphere of ‘far away and long ago’.                desert. This is interrupted by a short, urgent dance-like figure, followed by a gentle
sixty-three, the toast of London. Haydn achieved particular success in London                                                                                                          development of the opening theme. The piano returns to the faster, pounding rhythms
with his symphonies, but during his stay there he returned to the piano trio and            Debussy’s trio is an attractive work, to some extent derivative, as might be
                                                                                                                                                                                       of the dance episode and this idea is taken up by the violin, leading to a powerful
wrote a number of them during 1795. Earlier in his career, Haydn had regarded the           expected. It opens with a movement that is developed from the opening piano
                                                                                                                                                                                       climax. The energy is dispersed with long, held chords but soon returns with tremolo
piano trio as essentially an entertainment form, something intended as amiable              figure, itself based on the descending scale. The theme is taken up by the violin,
                                                                                                                                                                                       octaves from the piano. The main theme of the work is now introduced by violin, and
background music or as music for amateurs, where the piano dominated. The                   before the cello is allowed its own melancholy version of the material. Fellow-
                                                                                                                                                                                       immediately echoed by piano, then cello. A virtuosic violin ostinato accompanies
composer even referred to them as Sonatas for pianoforte with accompaniment                 students of Debussy in Durand’s class remarked on his originality in the treatment
                                                                                                                                                                                       the theme played on cello, with the piano adding to the texture soon after. The
for violin and violoncello. The later trios balance the musical responsibilities a little   of relatively trite material and his ability to find a novel solution for harmonic
                                                                                                                                                                                       tune is then developed, building to a statement in octaves by all three instruments.
more evenly and, though the piano retains much of the musical interest, the other           problems. The first movement of the trio leads to secondary thematic material in
                                                                                                                                                                                       Shimmering chords progress from quiet octaves to the main climax of the piece with a
voices, particularly the violin, are assigned more important roles.                         F major and a section marked Allegro appassionato, before the eventual return
                                                                                                                                                                                       four-note motif in the piano rushing up and down, underpinned by very loud sustained
                                                                                            of the principal theme in its original key. The B minor Scherzo opens with the
Easily the best known of Haydn’s trios is the Trio in G Major, subtitled ‘Gypsy                                                                                                        octaves on violin and cello. The piece ends in contemplation, bringing back the
                                                                                            plucked notes of violin and cello, before the piano launches into the theme,
Rondo’ because of its finale, ‘Rondo in the Hungarian (i.e. Gypsy) Style’. The trio                                                                                                    opening theme, now combined with the long, held chords which led to the work’s main
                                                                                            contrasted with a B major Un poco più lento section introduced by the cello.
is interesting in that, whilst it is cast in the standard three movements, none quite                                                                                                  theme. It is as if we have passed through the city, returning once more to the desert.’
                                                                                            The piano briefly moves towards the original key for the slow movement, with
conforms to expectations. The opening movement is not the expected sonata-                  its expressive cello melody and harmonic and dynamic contrasts, with a brief
form fast movement, but an Andante that alternates and varies two different                 excursion into G flat major and ensuing enharmonic changes, before the violin
themes. The middle movement is the customary slow movement, but what makes                                                                                                             PIANO TRIO NO 2 IN C MINOR, OP 66
                                                                                            brings back the principal theme and key. The Appassionato last movement invites
this one unusual is that it is derived from the Adagio of the composer’s Symphony           continued harmonic exploration, before the final re-establishment of G major in            Felix Mendelssohn (1809 – 1847)
No. 102, premiered in London on February 2, 1795, and contemporary with this                the last six bars.
trio. The spirited finale, which gave the trio its nickname, reflects the fact that
Esterházy and Eisenstadt, the courts where Haydn spent most of his life, are right                                                                                                     Allegro energico e con fuoco
on the edge of the Hungarian plain, and the composer was quite familiar with the                                                                                                       Andante espressivo
folk music of the region. Like Brahms, he was fond of gypsy music, and he based                                                                                                        Scherzo: Molto allegro quasi presto
this rondo on a gypsy theme, introduced immediately by the piano, after which               Tickets for the MAGGINI QUARTET at the Sherwell Centre on                                  Finale: Allegro appassionato
this exciting movement switches constantly between major and minor, before                  Saturday 14 November will be on sale during the interval.
rushing without pause to the final cadence.                                                                                                                                            In the years between the publication of his first piano trio and the genesis of the
                                                                                                                                                                                       second, Mendelssohn pursued a variety of projects. He continued his work at
                                                                                                                                                                                       the Leipzig Gewandhaus, where he had been directing the orchestra since 1835,
PIANO TRIO IN G                                                                             DESERT SONG                                                                                and founded a music school. In addition, he commemorated his love for Bach
Claude Debussy (1862 – 1918)                                                                Shaun Bracey (born 1967)                                                                   by placing a statue of the composer in front of the St. Thomas Church in Leipzig,
                                                                                                                                                                                       where Bach had spent the last seventeen years of his life. The Piano Trio No 2 in C
                                                                                            Shaun Bracey graduated in music from Huddersfield University in 1991, specialising         minor, Op 66 was composed in 1845 and dedicated to the violinist and composer,
Andantino con moto allegro                                                                                                                                                             Ludwig Spohr, who is known to have joined Mendelssohn in performances of the
                                                                                            in composition. In 1995 he moved to Dubai where the influence of Arabic music
Scherzo – Intermezzo: Moderato con allegro                                                  resulted in a number of works including Three Arabian Pieces for youth orchestra,          work. The first movement is built upon an opening ascending and descending
Andante espressivo                                                                          several piano pieces, and four children’s musicals, which have been subsequently           arpeggio, perhaps reminiscent of the composer’s Hebrides Overture. The piano
Finale: Appassionato                                                                        premiered at the Stable Theatre, Milton Keynes. In 2002 Shaun was a prize-winner at        introduces a restless, urgent principal theme in C minor, a flowing quaver-figure
                                                                                            Bologna’s International Composing Competition ‘2 Agosto’, with his work for violin         that rises and falls in each bar, emphasizing the dark harmony of that key. A lyrical
Debussy entered the Paris Conservatoire in the autumn of 1872. His parents                  and orchestra, From Tragedy to Hope. Whilst recovering from a serious car accident         second motif of the opening theme features an impassioned melody in E flat
hoped that he would become a piano virtuoso and remove them from the genteel                at his parents’ Devon home in 2003, he composed twelve songs, arranging them for a
                                                                                                                                                                                       major for strings in the same arch-shape, as the piano scampers up and down
poverty in which they lived. Although Debussy won a second prize for piano-                 fifteen- piece band, and each one dedicated to someone who had contributed to his
                                                                                                                                                                                       the keyboard in semiquaver runs. The second subject is soothing in character,
playing in 1877, the first prize eluded him, and two years later, when he failed to         life thus far. In 2006 Shaun became Director of Music at Port Regis preparatory school
                                                                                                                                                                                       somewhat related to the second motif of the first theme, and almost as restless.
win any piano prize, his parents had to admit their dream would never be fulfilled.         in Shaftesbury, Dorset. The move back to England and the rigorous demands of the
                                                                                                                                                                                       Of particular note is the way that Mendelssohn gradually reintroduces the opening
In 1880, Debussy’s piano teacher, Antoine Marmontel, took note of his first prize           job initially left little time to compose, but now things have settled again, Shaun says
                                                                                            he is once more ready to compose!                                                          motive at the end of the development. In the coda, the piano presents its theme at
in score-reading and subsequently recommended Debussy to Tchaikovsky’s
                                                                                                                                                                                       original speed, while the strings play the same material half as fast, creating a deal
patroness, Nadezhda von Meck, who was looking for a pianist to accompany her                ‘When I first moved to Dubai’, Shaun writes, ‘I was at once struck with the incredible
                                                                                                                                                                                       of tension. A restless passion pervades the Andante espressivo in E flat major,
and her children on their travels. Debussy was engaged, and his duties included             contrasts that were evident: the modern metropolis of the city, with bustling
giving piano lessons to her children, accompanying her twenty-seven-year-old                                                                                                           although it is calmer, and heartfelt, rather than dark and questioning. The piano
                                                                                            thoroughfares and constant noise, gradually encroaching upon the still, stark beauty
daughter Julia (a singer), and playing piano duets with Mme von Meck. Their                                                                                                            introduces a rocking, lullaby-like melody suggestive of a choral part-song. Soon
                                                                                            of the desert sands. Beyond the city of Dubai there are many oases where the water
journey that summer took them throughout Europe, ending in Florence where the               table is high enough for plants to survive, especially in the mountains. Again I was
                                                                                                                                                                                       the violin and cello enter and, against a piano background, transform the music

To top