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BEAUX ARTS TRIO
MENAHEM PRESSLER; piano ISIDORE COHEN, violin
BERNARD GREENHOUSE, cello
Trio in E major, K. 542
Allegro
Andante grazioso
Allegro
PROGRAM
Wolfgang Amadeus Mozart
(1756-1791)
Trio for Piano, Violin, and Cello (1985)
Amabile
George Rochberg
(b. 1918)
Largo
Allegro con spirito
Trio inC major, op. 87
Allegro
Andante con moto
Scherzo: Presto
Finale: Allegro giocoso
Columbia Artists Management Inc.
Personal Direction: David V. Foster
Associate: Hattie Clark
165 West 57th St., New York, NY 10019
Intermission
Johannes Brahms
(1833-1897)
Steinway piano
Philips and Mercury records
Presented with the support ofWCLV
The use of cameras and recorders at this concert is prohibited
PROGRAM NOTES
Trio in E major, K. 542 .. . . .. . . .... . _ .... _ ..... . . .. . ... Mozart
Ein Terzett was Mozart's title for each of his trios for piano, violin,
and cello, except for an early one that he called a Divertimento-a
strange designation, since it differs in no way from the pattern of
the rest. In them, the piano always predominates. They are piano
solos agreeably encased in string tone. In the first trio and the last,
the string parts could be dropped altogether, with little change in the
musical effect. The remaining trios are fine products of Mozart's
maturest years, two having been written in 1786 and two in 1788.
These have nothing of the bold innovations to be found in other
works of those years, such as the C-minor Piano Fantasia or the
orchestral works. They r~main polite salon pieces, as do in general
the pia,no sonatas. At the same time, they are examples of their composer's
finest workmanship, a proof that Mozart's late works in the style of his time
can be as treasurable as his late scores of bolder innovation.
This work could be called the last of the great trios. It was composed at the
beginning of 1788, a year that was to bring the final three symphonies. Mozart
presumably found this trio useful-he played it in Dresden in the following
year and sent it to his sister at St. Gilgen. Perhaps for his own purposes of
performance, he gave the music more substance than its predecessor of two
years earlier. The piano part is brilliant, but it is never allowed to harden into
mere glitter. The balance of the three instruments gives the cello an occasional
thematic part and a closer chordal blending with the violin. This trio avoids all
heavy thoughts and gives us a truly gallant Andante grazioso of studied and
self-conscious grace. The theme of the final Allegro might be called sophisticated
naivete, with touches that keep it clear of the commonplace, in a fully
developed movement.
Trio for Piano, Violin, and Cello (1985) ..... . ..... . .. . . . .. . .. Rochberg
Note by the composer, 3-31-86:
My Trio for piano, violin, and cello was composed in 1985 for the Beaux Arts
Trio under a commission from the Elizabeth Coolidge Foundation in the
Library of Congress. Its first performance took place February 27 and 28, 1986,
at the Library of Congress, Washington, DC.
It is actually my second piano trio, the first one having been written in 1961
and given its premiere in Buffalo in 1964 by the Nieuw Amsterdam Trio. It is
not only the distance in time between the writing of the two trios which
differentiates them: it is also the distance in language and style which
separates them. The first trio was the very last work I wrote in a serial style.
After 1961 I gradually found my way back to writing my own tonal music. The
new trio is thoroughly tonal in language, with an extended vocabulary of
chromatic intensities. The first and third movements are in E major and
explore in different ways the old sonata form (statement-developmentrestatement).
The second movement is in B-flat major-but a very restless
B-flat major which moves slowly and inexorably through many sub-tonalities
until it leads directly back to theE major of the third movement.
The music is frankly melodic-the only way, as I believe, to write genuinely
tonal music. Since a piano trio is an ensemble of equals, I have tried to treat
each of the three instruments as partners in a common musical discourse.
Trio inC major, op. 87 ......... . .... . .... . . .. .. . . . ..... . ..... . . . Brahms
Brahms started the first movement of his Opus 87 Trio in 1880, but it was not
until1882 that he finally finished it. It was during this period that he wrote
some of his greatest work: the Second Symphony, the Violin Concerto, the two
overtures, and the B-flat Piano Concerto. In this trio, Brahms reached new
heights in his mastery of thematic development and in the economical use of
material. Virtually every scrap of melody gives rise to other melodies; every
motive suggests new motives. Brahms was happy with the new work and told
his publisher, "You have not yet had such a beautiful trio from me and very
ORDER BLANK, 1987/88 SEASON
THE CLEVELAND CHAMBER MUSIC SOCIETY
2316 Belvoir Blvd., Cleveland, Ohio 44121
Tickets-Please send me the following subscriptions to the 1987/ 88 season:
__ full series (7 concerts) @ $45.00 each$ _____ _
_ _ series A (4 concerts) @ $30.00 each$ ____ _
__ series B (4 concerts) @ $30.00 each$ ____ _
Membership-! would like to be a member of the Cleveland Chamber Music Society
for the 1987/ 88 season:
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0 Sustaining member ($50 to $99)
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Note: Tickets will be sent to you in time for the opening concert. If you are using a
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early September, when the tickets are ready to be mailed.
Also note: Certain benefits (including complimentary and reduced-rate tickets) are
available to full-season subscribers who are also members of the Society. Call the
Society at 531-7094 for details.
likely have not published one to equal it within the last ten years."
The first movement is characterized by dignity and reserve. It has no fewer
than four themes, with sub-themes attached. The first theme is brisk and
broad. The second is played by the piano and is marked dolce. The strings play
the third theme in unison with marked triplet figures. Finally, again on the
piano, a lovely grazioso brings the exposition to a close. The development
concentrates mostly on the first theme, but all of the themes return in the
recapitulation. A long coda, marked animato, concludes the movement.
The second movement, a set of six variations, is an outstanding example of
Brahms's skill; not lyrically inspired nor dramatically contrasted, the variations
present different phases of the theme's character. It was inspired by folk
melody, suggesting, by its reversed dotted rhythm, Hungarian rather than
Austrian melody. But only the fourth variation is unmistakably Magyar in
flavor, with its crisp rhythm underlined by double stops in the strings.
The Scherzo is one of the composer's most turbulent movements. It opens
with a repeated-note pattern that is worked up into an impressive show of
power. There is a repeated shifting of patterns from light to heavy and back
again. After all the mass of black notes in the scherzo, the movement's trio
looks wonderfully airy on paper, and gives a definitely roomy impression.
The Finale, with its few outbursts, is marked Giocoso, and it should be
played in a jocose manner, exactly as stated, to make this a properly impressive
conclusion to a most engaging work.
Notes for the Mozart and Brahms trios by Julius Drossin
THE BEAUX ARTS TRIO
The Beaux Arts Trio made its debut at the 1955 Berkshire Music Festival at
Tanglewood. Since then, the Trio has established itself as one of the most
successful musical collaborations of our time. In over three decades of concertizing,
the players have elevated the piano trio literature to the level of that for
the string quartet, they have fueled the public's continuing passion for
chamber music, and they have won unsurpassed admiration from critics and
audiences. The Beaux Arts Trio's extensive discography on Philips Records
has brought the ensemble many awards.
Menahem Pressler, pianist, was born in Magdeburg, Germany, and grew
up in Israel. He began his career in the United States at the age of seventeen,
when he won first prize in San Francisco's First International Piano Competition.
This led to solo appearances with the Philadelphia Orchestra, the New
York Philharmonic, the Cleveland Orchestra, the National Symphony, the
Israel Philharmonic, and the London Philharmonic. He holds the position of
Distinguished Professor of Music on the faculty of the Indiana University
School of Music.
Isidore Cohen, violinist, was born in New York City of Russian immigrant
parents. Originally planning a career in medicine, he grew to love the violin
while in the armed services. Upon his discharge, he was accepted by the
Juilliard School to study with Ivan Galamian. He has made frequent solo
appearances throughout the United States, and his extensive chamber music
background includes membership in the Juilliard String Quartet and the
Schneider Quartet and appearances with the Budapest Quartet.
Bernard Greenhouse, cellist, was born and raised in New Jersey. He
studied at Juilliard and made his New York recital debut at Town Hall. He then
went to Europe to study with the Spanish master Pablo Casals. Since then he
has won an enviable reputation as one of the major interpreters on his
instrument, making solo recital appearances in most of the major cities of both
Europe and America and performing as guest soloist with orchestras and
chamber music ensembles. He is a faculty member of the Manhattan School of
Music.
***ANNOUNCING THE 1987/88 SEASON***
Guarneri Quartet series A October 6
Ani and Ida Kavafian, violin & viola series A &B October 20
Emerson Quartet series B November 10
Hilliard Ensemble series A February 16
Alban Berg Quartet series B March 1
Heinz Holliger, oboe series B April5
Mannes Piano Trio series A April19
All concerts are on Thesday evenings and begin at 8:00 p.m. A full-season
subscription to all seven concerts is $45. The price of Series A or B, each
consisting of four concerts, is $30. Season subscriptions represent a notable
savings over single-ticket prices, which are $9, with a special price of $3 for
full-time students. For reservations or for help with any questions, call the
Society at (216) 531-7094.
Use the blank provided on the back of this page to order your tickets for the
coming season and/ or to join the Cleveland Chamber Music Society for
1987/ 88. If you just want to make sure you are on our mailing list to receive a
season brochure, you can fill in the address portion of the form or call the
Society at the number given above.
ORDER BLANK, 1987/88 SEASON
THE CLEVELAND CHAMBER MUSIC SOCIETY
2316 Belvoir Blvd., Cleveland, Ohio 44121
Tickets-Please send me the following subscriptions to the 1987/ 88 season:
__ full series (7 concerts) @ $45.00 each $ ____ _
__ series A (4 concerts) @ $30.00 each$ ____ _
__ series B (4 concerts) @ $30.00 each$ ____ _
Membership-I would like to be a member ofthe Cleveland Chamber Music Society
for the 1987/ 88 season:
D Patron ($100 and over)
D Sustaining member ($50 to $99)
D Contributing member ($25 to $49)
D Annual member ($10 to $24)
Name (as it will appear on members list) _______________ _
Address ___________________________ __
City/ State/Zip ________________ Phone _____ _
Tickets $ ____ _
Membership (tax deductible) $ ___ _
Total $ ____ _
D My check is enclosed
D Please charge my credit card: Master Card D Visa D
No. ___________________ Expires _______ _
Signed ___________________________ _
Note: Tickets will be sent to you in time for the opening concert. If you are using a
charge card, the amount will not be charged to your account until late August or
early September, when the tickets are ready to be mailed.
Also note: Certain benefits (including complimentary and reduced-rate tickets) are
available to full-season subscribers who are also members of the Society. Call the
Society at 531-7094 for details.
THE CLEVELAND CHAMBER MUSIC SOCIETY 1986/87
Officers and Committee Chairmen
President-Elaine Newman*
1st Vice-President-Toni Miller*
2nd Vice-President-Richard J. Lederman*
3rd Vice-President-Flora Sargous*
Secretary-Ruth Lamm*
Membership-Richard J. Lederman*
Nominating-Hans Hirschmann
Program-Barbara R. Green*
Program Annotator-Julius Drossin*
Publications-Virginia Benade*
Public Relations-Sonia Margles*
Radio-John Boatright*
Theasurer-Paul Aron*
Legal Counsel-Irwin M. Feldman
Counsellors-Arthur H. Benade, Muriel B. Black,* Finance-L. Ted Miller
David B. Guralnik
Box Office-Flora Sargous*
Halls-C. W. Shuster
Hospitality-Toni Miller*
Other Thustees-James Barthelmess, Elizabeth Kirk, Lenore Koppel, Sue Levin, Daniel Morgenstern, Susan
Nurenberg, David A. Richardson, Norma Ringler, Lois Rose, Jack Saul, Ernest G. Spittler, S.J., Helene
Stern, Paul Unger, Eric Von Baeyer
Honorary Members-Alan S. Geismer, Hans Hirschmann
Executive Secretary-Dorothy Markic
Dr. Ann L. Acheson
Mrs. Irwin A. Adler
Paul and Wanda Aron
Don and Rachel Baker
Bland Banwell
Mr. and Mrs. James A. Barthelmess
Deanne and Irving Bayer
Ms. Ann Beard
Arthur and Virginia Benade
Bert and Joanne Benkendorf
Albert R. Bennett, M.D.
Mille and Don Berman
Muriel B. Black
John and Claudia Boatright
Paul J . Brabenec
Laurine Braun
David Broughton
Hugh and Ann Brown
Mr. and Mrs. Ronald Brown
Mr. and Mrs. Ben Brownstein
Frank W. Buck
Cantor and Mrs. Irvin Bushman
Ruth Anna Carlson
Dr. B.S. Chandrasekhar
Dr. Edward H. Chester
Dr. and Mrs. Monroe Cole
Mrs. Anda Cook
Cecil Cooper
Harry M. Core
Dr. Marjorie Creelman
Winifred F. Dean
Dr. Daniel A. Deutschman
Dr. and Mrs. Julius Drossin
Ernie and Paul L. Eden
Noel H. Egensperger
Mrs. Marian Englander
Ms. Audrey H. Evans
Mrs. Hilda Faigin
Irwin and Barbara Feldman
Mrs. Edith H. Freedlander
Harold and Ruth Friedman
Dr. and Mrs. A. Gelehrter
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David Goshien
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Barbara Green
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Mr. and Mrs. George T. Griswold
Kate Gruen
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Ms. Elaine Harmon
J erry and Bethalee Harpst
Members of the Society
Luba Heinemann
Fredrec T. Henkel
Frieda and Hans Hirschmann
Ms. Ruth Hirshman
Dr. J ames S. Jacobsohn
Judy and Don Jacobson
Virginia Jaffe
Glen and Tom Jenkins
Dr. and Mrs. Richard S. Kaufman
Ms. Elizabeth P. Kirk
Dr. David E. Klein
Nancy L. Knepper
Ehud and Sutti Koch
Harold and Lenore Koppel
Robert A. Lad
Dr. and Mrs. Michael E. Lamm
Richard J. Lederman, M.D.
Dr. and Mrs. Myron F. Levenson
Sue and Howard Levin
Anne F. Levine
Mrs. Lillian Levine
Jerry Liebman
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Dr. J. W. Lozier
Mr. and Mrs. Eli Ludsin
Stefan Machlup
Mr. Terry D. Mackey
Dr. and Mrs. Elliot C. Margles
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Dr. and Mrs. G. W. Mellors
Sally and Hermann Menges
Glenn Mercer
Ted and Edith Miller
Toni S. Miller
Mr. and Mrs. Daniel Morgenstern
Mrs. Edith Morgenstern
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Dr. and Mrs. Robert I. Newman
Mr. and Mrs. M. I. Nurenberg
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Schuyler W. Rader
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H. S. Reinmuth, Jr.
David and Sharon Richardson
Norma M. Ringler
Mr. and Mrs. Paul Rolnick
Lois and Doug Rose
Dr. and Mrs. Melvin S. Rosenthal
Dr. and Mrs. Melvin Ross
Charles and Linnea Rostek
*also a trustee
Dr. Henry Z. Sable
Sue Sahli
Mr. and Mrs. James A. Saks
Sidney Salkin
Mr. and Mrs. George Sapin
Flora Sargous
Jack Saul
Mr. and Mrs. Edward L. Sawyer, Jr.
Harvey and Audrey Scher
Anita Schwartz
Alan and Wynell Schweitzer
Hans and lise Seidemann
Mr. and Mrs. Ben Selcer
Dr. Carl A. Sferry
Mr. and Mrs. Joseph M. Shafran
Charles W. Shuster
L. N. Siegler
Reuben Silver
Janet Slade
Robert A. Smithfield
Virginia A. Sords
Ernest G. Spittler, S. J .
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Norman Weinstein
Sa vine Cross Weizman, Ph.D.
Edric Weld/ Elisabeth Logan
Kathryn Hug Wilhelm
Arnold and Mary Woodrich
Richard A. and June C. Wortman
Mrs. Ralph Wunderlich
