May 16, 2004, 7:30 PM
The Boiler Room Theatre, The Factory
|Trio for clarinet, horn, and piano, op. 274||Carl Reinecke (1824-1910)|
- Finale: Allegro
- Lee Levine, clarinet
- Leslie Norton, horn
- Robert Marler, piano
|Suite no. 1 for solo cello, op. 72 (1964)||Benjamin Britten (1913-1976)|
- Canto primo: Sostenuto e largamente
- Fuga: Andante moderato
- Lamento: Lento moderato
- Canto secondo: Sostenuto
- Serenata: Allegretto (pizzicato)
- Marcia: Alla marcia moderato
- Canto terzo: Sostenuto
- Bordone: Moderato quasi recitativo
- Moto perpetuo e Canto Quarto: Presto
- Michael Samis, cello
– Intermission –
|Sonata no. 2 for violin and piano (1923)||George Antheil (1900-1959)|
- Zeneba Bowers, violin
- Rolin Mains, piano and percussion
|Piano Trio no. 2 in C minor, op. 66||Felix Mendelssohn (1809-1847)|
- Allegro energico e con fuoco
- Andante espressivo
- Scherzo: Molto allegro quasi presto
- Finale: Allegro appassionato
- Erin Hall, violin
- Christopher Stenstrom, cello
- Amy Dorfman, piano
Proceeds from this concert benefited the Montessori School of Franklin.
Benjamin Britten: Suite #1 for solo cello, op. 72
Britten was a prominent figure among the generation of English composers who came to the fore during the World War II era. Composed in the autumn of 1964, the first suite for solo cello is among several of Britten’s compositions inspired by and dedicated to the legendary cellist, Mstislav Rostropovich. The suite is comprised of a reoccurring Canto, or song, and six movements. This Canto appears in three emotionally different presentations, each preceding a pair of movements, then finally clashes directly with the Moto Perpetuo wearing its original face and tonality. Each movement has a unique character and explores various technical and virtuosic abilities of the cello.
Carl Reinecke: Trio for clarinet, horn, and piano, op. 274
Though not well-known to modern audiences, Reinecke was an important musical figure of the 19th century, as a pianist and composer but also as an educator and administrator. In 1860 he was appointed to the Leipzig Conservatory; he became the director in 1897. His music is known today by young pianists who play his exercises and sonatinas; but he also wrote an impressive number of “serious” works (of which his trio for piano, clarinet and horn is one), including operas and orchestral and chamber music. His style was generally in the vein of Schumann and Brahms, often marked by an affinity for folk elements.
George Antheil: Second Sonata for Violin, Piano, and Drum (1923)
Aaron Copland wrote of Antheil in 1925: “I am honesty bound to repeat my unshakeable conviction – the boy is a genius. Need I add that he has yet to write a work that shows it.” The American-born Antheil developed a compositional style to oppose the (in his words) “mountainous sentiment” of Strauss and the “fluid diaphanous lechery” of the French impressionists. His riotous Carnegie Hall premiere of his Ballet méchanique which included pianos and player pianos, xylophones, two airplane propellers, tam-tam, four bass drums and a siren, earned him the moniker “The Bad Boy of Music.” His style, which he referred to as a “synthesized jazz” idiom, is evident in his second violin sonata: While, like Charles Ives, Antheil uses many quotations from some of the popular jazz and salon music of the day, he also presages, in different ways, elements of later composers such as Steve Reich and Philip Glass.
Felix Mendelssohn: Piano Trio no. 2 in C minor, op. 66
Mendelssohn was, not unlike Mozart, a child prodigy both as a pianist and as a composer. His family was well-educated and financially comfortable, which was an ideal environment to develop the talents that Mendelssohn displayed at an early age. Musically, not unlike Beethoven, he stood at the juxtaposition of the highly structured Classical period and the budding Romantic period. His music bears elements of both; moreover, he was at least partially responsible for a popular revival of interest in the Baroque stylings of J.S. Bach. All of these elements are present in his tremendous body of work, which spans from solo to orchestral, instrumental to vocal, secular to sacred. His second piano trio was written in 1845, only two years before his death (again, like Mozart, Mendelssohn died in his thirties). While in a classic four-movement form, it clearly bears the mark of the coming Romantic era which he helped to create.