Kalichstein-Laredo-Robinson Trio
and Michael Tree, viola, Harold Robinson, double bass

Wednesday, February 22, 2012

PROGRAM

Trio for Piano, Violin, and Cello, Op. 11        Ludwig van Beethoven
(“Gassenhauer”)                                                               (1770–1827)
Allegro con brio
Adagio
Tema con variazioni: Allegretto

Quintet for Piano, Violin, Viola, Cello,                     Ellen Taafe Zwilich
and Contrabass                                                                        (b. 1939)
I.
II. “die launische Forelle” (“the moody trout”)
III.

Intermission

Quintet in A Major for Piano, Violin, Viola,                Franz Schubert
Cello, and Contrabass (“Die Forelle”), D. 667                (1797–1828)
Allegro vivace
Andante
Scherzo: Presto
Andantino — Allegretto
Allegro giusto

Program Notes

     Classical era composers valued the clarinet as an important asset to orchestral scoring, but only rarely did they compose chamber literature for the instrument. Beethoven composed his Opus 11 Trio as a favor to his clarinetist friend, the Czech virtuoso Joseph Beer. He honored Beer’s request to include a variation movement based on a tune from a then-fashionable opera, Joseph Weigl’s “L’amor marinaro.” Written early in Beethoven’s career (1797), the trio reveals its eighteenth-century roots in its three movement format (fast–slow–fast), motivic development in the manner of Haydn, and clearly phrased melodic lines animated by complementary contrapuntal material. The full piano texture suggests the influence of the brilliant pianist (and innovative composer) Muzio Clementi. Beethoven himself rescored the work for the more standard trio instrumentation of violin, cello, and piano to increase sales; the violin line closely follows the original clarinet part.

The opening movement is an expansive allegro that unfolds in classical sonata form. The Adagio is based on a songful theme presented first by the cello then embellished by the other instruments. The finale is a set of nine variations on “L’amor marinaro’s” popular theme “Pria ch’io l’impegno” (Before I made that promise). The theme reappears in new guises to conjure contrasting moods.

 

Ellen Taaffe Zwilich was the first woman to receive a doctorate from the Juilliard School, where her teachers included the postmodernist composers Elliott Carter and Roger Sessions. After winning the 1983 Pulitzer Prize for her Symphony No. 1 (the first woman so awarded), her compositions began to receive worldwide recognition. A prolific composer in virtually all media, she creates compelling works characterized by long melodic lines, sophisticated rhythmic treatment, and instrumental virtuosity. Her works, commissioned by groups such as the New York Philharmonic and the Chamber Music Society of Lincoln Center, have been described as reflective of an optimistic and uniquely humanistic spirit. In her 2011 Quintet she also reveals her affinity for jazz and a keen musical playfulness.

The Quintet was co-commissioned by twelve arts organizations around the country, one of which was the Arizona Friends of Chamber Music through a gift from Jean-Paul Bierny and Chris Tanz. This year the Kalichstein–Laredo–Robinson Trio will perform the quintet at each of the venues.

Ms. Zwilich writes about her 2011 work: “My Quintet (for the same instrumentation as the great “Trout” Quintet by Franz Schubert) is in three movements, the second of which has the title “Die Launische Forelle” (roughly translated: “The Moody Trout”). I couldn’t resist using a very small quote from the Schubert song on which his Quintet is based. I also took the liberty of allowing that movement to spin out musical images of a “moody” trout. In all three movements the weight and character of the contrabass is an important element in the overall design. I’m especially interested in the possibilities offered by the contemporary contrabass player’s virtuosity and artistry which allows the composer to reach for that chamber music ideal of equal partners.

“Because of my great admiration and affection for these artists, my work is dedicated to Yossi, Jaime, Sharon, Michael and Hal.”

 

After a walking trip through Upper Austria in the summer of 1819, Schubert wrote his “Trout” Quintet in the picturesque Austrian town of Steyr. It has been suggested that the beautiful countryside was a secret collaborator in the Quintet, a work admired for its haunting melodies and radiant spirit. The Quintet was commissioned by the town’s musical patron, Sylvester Paumgartner, a prosperous mine manager and accomplished amateur cellist. Paumgartner, who frequently hosted musical evenings in his home, specifically requested the quintet’s particular instrumentation because friends had recently enjoyed playing the Hummel quintet for the same unusual scoring. Since Paumgartner admired Schubert’s 1817 strophic song “The Trout,” he also requested that the composer include a variation movement based on its theme. Schubert was delighted by the prospect of an appreciative audience for his work, and within weeks he had both completed the score and had written out the lengthy parts for the individual players.

The Quintet is essentially a lyrical serenade for chamber ensemble. Throughout the work, graceful interplay among the five instruments creates an atmosphere of sociable conversation. The animated Allegro vivace opens with a dramatic arpeggio in the piano, followed by a more serene string melody. Expansion of these ideas leads to a songful duet between the violin and cello. After a harmonically rich development section and a restatement of themes, the movement ends without a coda.

The Andante consists of three contrasting sections, the second of which explores a Magyar-type theme derived from an idea heard in the first movement. The Scherzo opens with an energetic four note motto, a theme that is developed in passages alternately tempestuous and calm.

The fourth movement offers six variations on the opening portion of Schubert’s song, “The Trout.” Stated by the strings alone, the melody is varied and ornamented first in the upper octave of the piano, then by the viola and cello, followed by the double bass. The theme is substantially altered in the fourth and fifth variations, which move into hauntingly remote harmonic areas. In the final variation the song appears in its original form with the piano articulating a rippling accompaniment. The finale, “in the Hungarian style,” develops two lively themes, the second of which recalls the opening movement of the quintet.

Notes by Nancy Monsman

After nearly thirty-five years of success the world over, including many award-winning recordings and newly commissioned works, the Kalichstein–Laredo–Robinson Trio continues to dazzle audiences and critics alike with their performances. Since making their debut at the White House for President Carter’s inauguration in January 1977, pianist Joseph Kalichstein, violinist Jaime Laredo, and cellist Sharon Robinson have set the standard for performance of the piano trio literature. As one of the only chamber ensembles with all its original members, the Kalichstein–Laredo–Robinson Trio balances the careers of three internationally acclaimed soloists while making annual appearances at many of the world’s major concert halls, commissioning spectacular new works, and maintaining an active recording agenda.

The Trio is honored that the Chamber Music Society of Detroit has created the Kalichstein–Laredo–Robinson International Trio Award (KLRITA), an initiative with a two-fold purpose: to salute the Trio’s contribution to chamber music worldwide and to encourage and enhance the careers of promising young piano trios. The KLRITA, in which twenty presenters (including AFCM) nationwide participate, is awarded to a new ensemble every two years. The first ensemble was the exciting young American group the Claremont Trio, the second award was presented to the Trio Con Brio Copenhagen of Denmark, the third to the ATOS Trio of Germany, and the current award to the Morgenstern Trio of Germany.

Michael Tree has appeared as violin and viola soloist with numerous major orchestras, including the Philadelphia and the Los Angeles Symphonies. Since 1964, as a founding member of the Guarneri Quartet, he has played in major cities throughout the world. Mr. Tree has recorded over ninety-five chamber music works, including two complete Beethoven cycles. His television credits include repeated appearances on the Today Show and the first telecast of Chamber Music Live from Lincoln Center. He serves on the faculties of the Curtis Institute of Music, the Juilliard School, the Manhattan School of Music, and the University of Maryland.

Born in Texas into a family of musicians, Harold Robinson was selected by Mstislav Rostropovich in 1985 for the position of principal bass in the National Symphony Orchestra. He served there until 1995, when he joined the Philadelphia Orchestra as principal bass. Mr. Robinson has appeared as soloist with the American Chamber Orchestra, the New York Philharmonic, and the Houston and National Symphony Orchestras, among others. Additionally, he has presented recitals and master classes throughout the US. Mr. Robinson is a member of the faculty at the Curtis Institute.