Concert
Trio Tableaux
| 3 June 2006 |
8 p.m. |
Culture and congress house |
Hallstatt |
W. A. Mozart:
Piano trio C major, KV 548
Allegro/Andante cantabile/Allegro
D. Schostakowitsch:
Trio no. 1, c minor, Op. 8
|
J. Brahms:
Trio no. 1, H major, Op. 8
Allegro con brio/Scherzo, Allegro molto/Adagio/Allegro
|
W. A. Mozart
Piano trio C major, K 548
His first allegro energetically uses in a punctuated, fanfare-like unison of the three instruments. This striking motif returns towards the end of the exposition, thereupon characterising in an imitatory succession the first part of the performance. The calming centre point of the work is undoubtedly the melodically flowing Andante cantabile (F major) in which the violoncello, in its solo capacity, is presented expressively, intensively. In the finale, the two string instruments unite somewhat more closely, frequently forming a joint opponent to the piano. The middle part solemnly switches to c minor, and is detached from its cheerful surroundings in a separate, tightly-structured three-part piece.
D. Schostakowitsch
Trio no. 1 c minor, Op. 8
Dimitri Shostakovich composed the Trio no. 1 for violin, violoncello and piano c minor, Op. 8, in autumn 1923, i.e. during his studies at the Petrograd Conservatory. It was here that, as part of a student concert, the work was performed in December of the same year. It was publicly performed for the first time on 20 March 1925 in the small hall of the Moscow Conservatory by N. Fedorow (violin), A. Jegorow (violoncello) and L. Oborin (piano). This composition is dedicated to Tatjana I. Gliwenko, who had made friends with the composer during his stay in Gaspra in the Crimean during the moths of July and August 1923.
J. Brahms
Trio no. 1, H major, Op. 8
Brahms was 20 years of age when he wrote his trio in H major. Although it wasn’t his first chamber music work, it was the first he considered good enough to be published. However, we do not have it in the same form as it was first performed in the USA in 1855. Brahms drastically revised his effusive early work, and practically rewrote it in its entirety except for the second movement. The version we have at our disposal these days is, hence, a combination of youthful creativeness and mature insight and mastery. However, the creative inspiration of the original work was retained throughout the rework: in both versions, the trio is one of his most imaginative and vivid works.
