Program

Dieterich Buxtehude Trio Sonata No. 2, Op. 2 (1637-1707) I. Adagio-Allegro-Largo

Dieterich Buxtehude is considered one of the leading figures of the middle Baroque period. Predating JS Bach by 2 generations, his style is an impetuous mixture of the older Italian style - feisty, dance-oriented, quickly-cadencing music with an improvisatory flair - and the burgeoning northern style, which brings longer-breathed phrases and sturdy sequences. Much of his work has been lost, but a lot of vocal music survives, cantatas and arias, and a good deal of muscular and adventurous organ music as well. Chamber music is a small portion of his output. There are some works for harpsichord, and he also published 2 volumes of Trio Sonatas in 1694 and 1696. Our selection is the first movement of the second sonata from the second volume. This music was not conceived for cello or piano, rather their older cousins, viola da gamba and harpsichord. But the buoyant spirit of this music shines through no matter the instrumentation.

Johannes Brahms Piano Trio No. 2, Op. 87 (1833-1897) III. Scherzo: Presto-Poco meno-Presto

Brahms’ second Piano Trio was written from 1880-1882 at the height of his creative powers and popularity with the public. In letters concerning the work, he was unusually enthusiastic. “You have not yet had such a beautiful trio from me,” he wrote to his publisher, “and very likely have not yet published one to equal it within the last ten years.” Brahms was usually known to be a perfectionist, agonizing over every detail, and even destroying work he was unsatisfied with. But the second trio escaped this fate. Piano Trio is an excellent form for his particular talent, as the sparse instrumentation tends to make his writing leaner and more concise. Our selection is the 3rd movement, a restless and moody Scherzo, with a soaring, warm-hearted middle section that seems to come from nowhere, bookended by a return to the opening theme.

Josef Suk Elegie, Op.23 (1874-1935) Under the Impression of Zeyer’s Vyšehrad

At a young age, Czech composer Josef Suk learned piano, organ, and violin from his father, the village choirmaster. He entered the Prague Conservatory at age 14 where he studied violin further, leading to a long successful career as a performer. He also studied composition with Antonin Dvorak and was said to be his favorite pupil. This is credibly evidenced by the fact that he married Dvorak’s daughter, Otilie, in 1898. They had one son, also named Josef.

Suk wrote his Elegie Op. 23 in 1902, during one of the happiest times of his life. The piece is intended to mark the one year anniversary of the death of Czech writer, dramatist and poet Julius Zeyer (1841–1901). Zeyer’s epic poem “Vysehrad” describes an ancient fortress, overlooking the river in Prague, which is iconic in Czech culture. The music functions as an impressionistic tone-poem, ruminating on the atmosphere of “Vysehrad” and the death of its author. Dvorak’s influence is strong in this piece, with its rich and haunting melodies and slippery enharmonic modulations. In the middle section, the music turns angry and turbulent, violin and cello trading grief-stricken lines over roiling arpeggios in the piano. The storm blows over and the opening theme returns in muted strings, as an echo of memory. Suk cleverly interpolates the “angry” theme into this recapitulation, but as a subdued growl from the muted cello.

Joseph Haydn Piano Trio No. 38 in D major, Hob. 24 (1732-1809) II. Andante

III. Allegro ma dolce

Haydn wrote his Piano Trio No. 38 in D major (Hob. 24) in 1795, during his second trip to London. The 3-movement work is considered to be atypical among his later piano trios in that it is serious in tone throughout, a quality that critic Robert Phillip describes as an "...almost Beethoven-like earnestness". The style of piano writing, with its rich chords, octaves in the bass and lively elaboration in the right hand, was much influenced by the sonorous new English pianos Haydn came to appreciate while in London. Haydn’s trios are piano-dominant, and the role of the strings is tightly controlled, usually doubling one or the other hand of the piano, resulting in a clear, uncluttered texture. Our selections are the second mvmt, Andante, and the third, Allegro, ma dolce; meaning “lively, but sweetly”.

The Andante begins as a deliberate and restrained dance in triple-time, with a slightly pompous air, and an insistent dotted rhythm. After a few strains of the tune, the cello takes the melody, and there is a sudden outburst of florid descant from the violin and piano’s right hand; a moment that can’t help but elicit a smile. The movement continues with more dramatic gestures, bold dynamic contrasts, and pregnant pauses, leading into the finale without a break. The final movement, instead of a merry sprint to the conclusion, is one of Haydn’s characteristically uncharacteristic gentle finales. It is also in triple time, reminiscent of an uptempo minuet, its melody an undulating, liquid run of eighth notes. But throughout the piece, this “3-feel” is cleverly subverted by 2 beat phrases, unexpected entrances, and a meandering chromaticism which delightfully disorient the listener. The middle section modulates to a gruff statement in the minor, a marked contrast to “dolce”. But the surly mood soon passes, and we return to the sunny outlook of the first section. Haydn shows amazing dexterity and wit in his handling of these quickly shifting moods.

Joaquin Turina Piano Trio No. 1 Op. 35 (1882-1949) I. Prelude and Fugue

In his early twenties, Turina travelled to Paris (where he lived from 1905-1914) to enroll at the Schola Cantorum, studying composition with Vincent D’Indy, and rubbing elbows with Ravel and Debussy in the French music scene. Turina wrote his first Piano Trio in 1926, well after his return to Spain. However, the imprint of his time in Paris is still perceptible. Impressionistic techniques and clustered chords, with an almost jazzy air, abound in the piece, alternating with sections of an unmistakably Spanish flavor. Later in his career, the Spanish folkloric side would dominate his music, but at this earlier stage, the French influence is still strong. Our selection is the first movement, titled “Prelude and Fugue”. The Prelude begins with strings alone, singing an eerie and plaintive descending line. The piano enters in a brighter, but contemplative mood. These two ideas cycle in and out for the remainder of the prelude. The next section marked “Fugue (l’inverse)” is built on an audacious premise: a Fugue in reverse! Meaning that he deploys the techniques usually used at the end of the fugue (motive deconstruction, overlapping ‘stretto’ entrances) at the beginning of the fugue l’inverse. Likewise, the traditional opening gambit of an ordinary fugue is put at the end, resulting in staggered exits instead of entrances. The virtuosity of this concept is formidable. In general, Turina’s music has a very inviting surface and exhibits a high level of craftsmanship. His attractive melodies are nimble, finely-wrought and ingeniously harmonized. While the writing itself is economical and carefully organized, and the counterpoint meticulous, the music that results is dreamy, rapturous, and ecstatic.

Paul Schoenfeld Cafe Music (1947- ) II. Andante Moderato

In the composer’s own words, “The idea to compose Café Music first came to me in 1985 after sitting in one night for the pianist of the house trio at Murray’s Restaurant in Minneapolis. My intention was to write a kind of high-class dinner-music which could be played at a restaurant but might also (just barely) find its way into a concert hall. The work draws on many of the types of music played by the trio at Murray’s. For example, early 20th-century American, Viennese, light classical, gypsy, and Broadway styles are all represented. A paraphrase of a beautiful Chassidic melody is incorporated in the second movement.” Our final selection is that second movement, Andante Moderato.