Salamon Ensemble by dfsiopmhy6


									                                                                               John Crawford was a scholar
                                                                               at the Royal College of Music,
                                                                               and after further study in Vi-
                                                                               enna he played with the BBC
                                                                               symphony orchestra. A great
                                                                               interest in teaching lead him
                                                                               away from full time performing
                                                                               and he now combines his per-
                                                                               forming career with a busy
Salamon Ensemble                                         teaching schedule. In addition to leading the For-
                                                         est Philharmonic, Ernest Read and Camden
Sunday 14 November 2010 3.00pm                           Chamber orchestras he holds teaching appoint-
                                                         ments at Trinity College of Music, the Purcell
Danielle Salamon             Piano                       school and the RCM. Recent solo performances
John Crawford                Violin                      include the Beethoven concerto with both Forest
Blai Soler                   Viola                       and Camden groups. John is also a qualified
Babette Lichtenstein         Cello                       teacher of the Alexander technique and works with
                                                         musicians on freedom of movement. This year he
Mozart Piano Quartet in G minor KV 478                   will give classes at the Royal Academy and in New
 Allegro                                                 Zealand.
 Rondeau                                                                          Blai Soler is a composer,
                                                                                  violinist, violist and conduc-
Beethoven String Trio in G major opus 9                                           tor. He studied at the Royal
no 1                                                                              College of Music (Felix An-
 Adagio                                                                           drievsky, violin, Edwin Rox-
 Allegro con brio                                                                 burgh, composition) and at
 Adagio, ma non tanto, e cantabile                       King’s College London (George Benjamin, compo-
 Scherzo Allegro                                         sition) where he has recently completed his PhD.
 Presto                                                  As a composer his works have been performed
                                                         worldwide by prominent soloists and ensembles
~ Interval~
                                                         such as pianists Llyr Williams and Rolf Hind, clari-
Brahms Piano Trio in B major opus 8                      nettist Cristo Barrios, the Arditti Quartet, Ensemble
 Allegro con brio                                        Modern, members of the Philharmonia Orchestra,
 Scherzo Allegro molto                                   Le Nouvel Ensemble Moderne, Lontano Ensemble
 Adagio                                                  and the Pierrot Lunaire Ensemble Wien.As a vio-
 Allegro                                                 linist Blai Soler was a prizewinner at various inter-
                                                         national competitions and has performed in
                                                         Europe and South America. At present he plays
                                                         the viola in the Erdos Trio and the Salamon En-
                 Danielle Salamon studied piano          semble.
                 and bassoon at the Royal Man-
                 chester College of Music and sub-
                                                                                  Babette Lichtenstein
                 sequently at the Guildhall School
                                                                                  studied the cello privately
                 of Music. She is an experienced
                                                                                  with Anner Bylsma be-
                 recitalist, as a solo player and also
                                                                                  fore rounding off her
                 as a song accompanist and in
                                                                                  studies at the Amster-
                 chamber music.
                                                                                    dam Conservatory. She
After winning the Mozart Memorial Prize competi-          Photo by Mike Stone       then moved to England
tion, she performed several concertos with the Lon-
                                                                                    to complete her studies
don Mozart Players throughout England and subse-
                                                         with William Pleeth. She freelanced with various
quently moved to Sheffield where she held a post
                                                         London orchestras, played as a principal baroque
as Convocation Pianist in Residence to Sheffield
                                                         cellist in England and Germany and worked as a
University where she worked closely with Lindsay
                                                         teacher (at the Guilhall School of Music Junior
String Quartet.
                                                         Department) before devoting herself entirely to
In more recent years she has become a much
                                                         chamber music. She has been a member of sev-
sought-after piano teacher in London, working in
                                                         eral chamber ensembles performing in England,
top schools and in the Junior Department of the
                                                         Holland and Germany. As the cellist of the Delos
Royal College of Music. She has a particular inter-
                                                         Quartet she twice toured the Far East and per-
est in the training of gifted children and also in
                                                         formed in major chamber music venues in Eng-
working with adults in the field of Piano Pedagogy,
                                                         land. At present she is the cellist in the Lauriston
lecturing on many aspects of piano history, reper-
                                                         Trio, the Salamon Ensemble and the Centauri
toire and technique.
Wolfgang Amadeus Mozart (1756 –1791)                           The exhilarating finale suggests perhaps that Bee-
Mozart Piano Quartet in G minor KV 478                         thoven knew that of Mozart's E flat piano concerto,
                                                               K449. The main themes resemble each other; Mozart
In his career as a freelance musician in Vienna, Mozart        carries the contrapuntal possibilities further, and Bee-
ventured to compose two piano quartets, to be published        thoven concentrates on contrasts of movement and
by Franz Anton Hoffmeister, a friend of Mozart and the         texture. From time to time there is counterpoint, al-
director of a successful publishing firm. The Piano Quar-      ways brilliantly executed, but the chief glory of the
tet in G Minor was the first to be written (Mozart begun it    movement is in its development, where Beethoven,
in July 1785, and finished it on October, 16th 1785),          having found the slow movement's remote key of
followed by the Piano Quartet in E-flat major KV 493           E major, institutes a wonderful broad, smooth, qui-
(June, 3rd 1786).                                              etly elated passage, mostly in minims and synco-
Today the piano quartet KV 478 is considered to be one         pated crotchets, finding the way back to G major with
of Mozart's finest creations. Particularly remarkable is       immense spaciousness through widespread harmonic
the first movement, whose great sense of unity is given        regions; it adds immeasurable depth to the finale, con-
by the assertive main theme, and especially by the de-         firmation of the range of the work as a whole.
scending fourth which opens it (which is to be found also      ~Interval~
in the second theme and in the development). After a           Refreshments are available from the tearoom
thoughtful second movement, the Finale lightens the
mood of the piece (although there is space for a dra-          Johannes Brahms (1833-1897)
matic section in E minor, bar 169). Mozart will re-use the
idea of closing a G minor piece with a G major rondo in
                                                               Brahms Piano Trio in B major opus 8
the great string quintet KV 516. (Tomasi, 2004)
                                                               The opening Allegro begins with a gentle piano melody,
Ludwig van Beethoven (1770 – 1827)                             which is overtaken in the second half of the phrase by
Beethoven String Trio in G major opus 9 no 1                   the cello. Brahms had a fondness for the melancholic
                                                               properties of instruments in this register and often fea-
Beethoven's three trios, Op.9, were composed in 1797           tured the cello, horn and viola in his subsequent compo-
or 1798, when he was 27 or 28. If we contemplate all Bee-      sitions.
thoven's music of this period we must conclude that it is      The traditional function of the cello in a chamber en-
the work of a supreme genius, of a consistency and             semble was to reinforce the bass line however signifi-
originality comparable (in near-contemporary work)             cant developments in piano design during Brahms’ life-
only with Haydn's and Mozart's. The difficulties of the        time meant that the bass notes were richer, louder and
string trio medium held no terrors for him, and he mas-        more resonant, thus freeing up the cello for more me-
tered them before tackling the wider possibilities of the      lodic pursuits. In this movement, the cello and violin are
string quartet; but there is no sense in which the trios are   treated as one giant instrument, playing in unison or
a preparation for a 'superior' category; they are as           echoing each other. This is a technique that Brahms
perfect and powerful as the best of his early quartets,        would turn to again 33 years later in his Double Con-
and as completely realised in texture. This is because         certo Op. 102.
his imagination can use the three-part medium with as
much comprehensiveness as Bach's, and his treatment of         Like its equivalent in the Horn Trio Op. 40, the Scherzo
the strings makes full use of their resources without ever     movement is a rollicking romp that can easily get away
putting them under strain.                                     from exuberant but inexperienced ensembles. Brahms
                                                               uses the unusually expansive Trio section to show off
There is no doubt that here Beethoven is exerting to the       his melody writing skills. Just as the music is about to
full his growing powers, and with enthusiasm.                  reach a tear-your-heart-out climax, Brahms relaxes the
The G major trio is as accomplished a work as the              tension only to wind it up again for the end of the trio.
early Beethoven produced; highly organised, it yet             The Scherzo comes again, mysterious at first, then gal-
gives the impression of complete spontaneity. Pre-             loping at full speed before slowing up and, rather sur-
dominantly it sings — it is notable for distinguished          prisingly, fading into nothing.
melody, in all its movements. It has a unity that only
pages of analysis could partly elucidate — and why             Solemn, full chords open the Adagio, one of Brahms
labour at that, if the music is so self-explanatory? The       finest slow movements. As in the first movement, the
broad slow introduction lays down the singing character        strings and piano are again counterfoils and after sev-
and foreshadows the actual thematic material of the            eral agonizing bars of alternation, the three players fi-
first allegro, which grows effortlessly out of it. The         nally join together to finish off the first section. The cello
singing nature produces breadth; there is both vigour          is given a chance to stretch its wings in a lengthy solo
and leisure in the transition to the second theme,             but then, after teaming up briefly with the violin, is rele-
which starts unexpectedly in D minor, with a fascinat-         gated to its traditional bass role to accompany the violin
ingly scored pianissimo. The double stops in the first         solo. The repeated restatement of the main theme is all
violin (making four parts) do not suggest that this is         the more agonizing for its simplicity, with the opening
would-be quartet music — Beethoven could easily have           motive recalling Schubert’s Cello Quintet D956.
harmonised this tune in three parts but preferred a            The Finale, Brahms reworks the instrumental relation-
more mysterious and poetic effect, still obtainable            ships so that the violin and cello are now adversaries,
only with three instruments. The development is finely         each taking their turn with piano as if they are playing a
drafted, with grand modulations, and a recognisable            solo sonata. The violin is given the spotlight throughout
return of phrases from the introduction before the reca-       the exposition while the cello toils away as an accompa-
pitulation. All is as spacious as it is energetic, and there   nist. Except for a few tutti outbursts in the development,
is a rich coda with a dramatic modulation.                     the two strings continue to separately ally themselves
The glorious Adagio is in the remote key of E major; it        with the piano. Once the coda comes however, all
is one of the young Beethoven's most beautiful slow            members go for broke as the tension is ratcheted to the
movements, of striking maturity and range. The main            breaking point until the tumultuous final cadence brings
theme rocks gently and moves lazily to a second group          the piece to a grand close.
of great breadth and ease; there is no development as
such, but the return to the main theme is of unusual
beauty and subtlety. The coda quietly explores new
sonorities (and so depths of feeling) that no one had
discovered before in this medium.
Today we will hear the Scherzo with two trios; only            Forthcoming classical concert
one is normally printed, but a second trio in Beetho-          At the Musical Museum
ven's hand has been discovered, and we feel that Trio
II, so open and vigorous, brings such a strong contrast        Lichtenstein Chamber Ensemble
to the Scherzo and Trio I, both delicate and mysteri-          A rare opportunity to hear the Glass Harmonica                   !
ous, splendidly linking up the whole movement with
the energy and optimism of the other movements.                Sunday 12 December 7.30pm

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