.i... ·- ••
Twenty-sixth Season
Concerts at SCOTTSDALE CENTER for the ARTS
Civic Center Plaza and 2nd Street at 8:00p.m.
PROGRAM NOTES
Most of all, the pianoforte trio presents tremendous problems in texture
and balance. It is balance which contributes, perhaps more than any other
element, to the sense of perfection which any work of art projects. Unlike
the string quartet, where the players can more readily adjust to one another
(the strings are so more akin in timbre), the trio must bridge enormous
gulfs in intonation. The piano has a tendency to be supreme in its
domain; it can be downright orchestral and drown the other players. An
inherent antagonism exists between keyboard and strings. Early writings
for the trio genre threw "balance" to the winds. The violin and cello parts
slavishly served the piano as obligatory accompaniments. (Haydn belongs
to this school, and was its most illustrious member.)
Not until Mozart did the trio take on the coloration of true chamber
music: an ensemble of three instruments coming together as a unit and
complementing one another. In the Mozart trios the independence of the
three parts is established, even though the cello often functions as the bass
of the ensemble. The piano and violin usually share the stage, with the
recessive cello making a subtler contribution. Because Mozart's piano bass
notes are often "doubled" by the cello, a sensitive keyboard artist will play
these notes softly with a light pedal so that the piano sound will merge into
that of the cello.
It is said that Brahms beyond all other composers best understood the
trio form of writing. Yet Brahms the hearty romantic, just like his period
contemporaries, at times could not resist seizing on the capacity of the
piano for brilliance and expressive range, a temptation which, in the hands
of a lesser master, could only result in tears in the textural fabric. Witness
the egalitarian treatment Brahms accords the different instrumental parts
in this wonderful trio (described by Clara Schumann as a "musical treat"):
the bold, striding main theme of the first movement is shared by the violin
and cello, while the piano has the rhythmic second subject against pizzicato
chords from the strings.
The dark-hued Dvorak trio expresses the composer's sorrow over the
death of his infant daughter Josefa. Minor keys and unstable rhythms
combine to paint the mood of this work. The keyboard has a tendency to
dominate this piece, as if to serve the grief-filled Dvorak's expressive needs
of the moment.
Listen closely and consider how each of the featured trios (and players)
addresses the problems of texture and balance. Does "pianoforte" aptly
describe each trio, or is the word a misnomer?
This 1985-86 season marks the BEAUX ARTS TRIO'S thirtieth anniversary.
We feel privileged to share it with them and offer our congratulations.
Among the highlights commemorating this event will be a book,
written by Nicholas Delbanco and published by William Morrow, detailing
the history of the Trio's 30 years of music making.
-Gary H. Fry
Presents
THE BEAUX ARTS TRIO
MENAHEM PRESSLER, Piano ISIDORE COHEN, Violin
MOZART
DVORAK
BRAHMS
BERNARD GREENHOUSE, Cello
FRIDAY, NOVEMBER 1, 1985
PROGRAM
Trio in C Major, K. 548
Allegro
Andante cantabile
Rondo: Allegro
Trio in G Minor, Op. 26
Allegro moderato
Largo
Scherzo: Presto
Finale: Allegro non tanto
INTERMISSION
Trio inC Major, Op. 87
Allegro
Andante con rnoto
Scherzo: Presto
Finale: Allegro giocoso
COLUMBIA ARTISTS MANAGEMENT, INC.
DAVID V. FOSTER
December 6th Concert: Corne early for Atrium Music
1985-86 CHAMBER MUSIC SEASON
October 18, 1985
November 1, 1985
December 6, 1985
January 3, 1986
January 24, 1986
February 7, 1986
February 21, 1986
March 28, 1986
April 18, 1986
May 9, 1986
Fri. CLEVELAND STRING QUARTET
Fri. BEAUX ARTS TRIO
Fri. DANIEL W AITZMAN FLUTE
QUARTET
Fri. ZUCKERMAN-KARR-LEWIS TRIO
Fri. BARTOK STRING QUARTET
Fri. STOLZMAN-LUVISI -TRAMPLER TRIO
Fri. TAKACS STRING QUARTET
Fri. MUIR STRING QUARTET
Fri. NEW YORK PHILOMUSICA
Fri. BOSTON SYMPHONY
CHAMBER PLAYERS
Cover Art By Dick Phillips
The Phoenix Chamber Music Society
P.O. Box 34235, Phoenix 85067
266-3524
You are invited to meet the artists and other members at the refreshment
tables immediately following the concert.
Please release your tickets if you cannot attend a concert.
Recording devices are not permitted In the hall.
