JESSE AUDITORIUM SERIES
Anthony and Joseph Paratore, duo-piano, Friday, October 22
Pinchas Zukerman, violin, Monday, November 1
Santiago Rodriguez, piano, Monday, November 15
Alvin Ailey American Dance Theatre, Tuesday, February 8
Dresden Staatskapelle Orchestra, Tuesday, March 1
Saint Louis Symphony Orchestra, Friday, March 25
CHAMBER MUSIC SERIES
Beaux Arts Trio, Friday, October 15
Barry Tuckwell, French horn, Wednesday, October 27
London Early Music Group, Friday, November 5
American String Quartet, Friday, February 4
Tokyo String Quartet, Thursday, March 3
Toulouse Chamber Orchestra with Michel DeBost, flute, Monday, March 28
Vancouver Chamber Choir, Monday, April 18
SPECIAL EVENTS
Karl Haas, lecture/performance, Friday, October 8
Joffrey II Dancers, Monday, January 17
1982-82 Schooling Concert Series Contributors
October 6, 1982
Concert Series Donors
James 5. and Patricia M. Carter
Miss Janice Plowman
Dr. and Mrs. M.W. Sorenson
Concert Series Patrons
Dr. and Mrs. William Corwin Allen
Giulio and Margaret Barbero
Andrew ] . Bass, ] r.
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~: :~J :J;: Ea0!~~t\.Ec~!~on
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{)~:;g'K\e;s1 rw H E estone
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((Jo::ft ~erie.s
THE BEAUX ARTS TRIO
Menahem Pressler, Pi ano Isidore Cohen , Violin
Bernard Greenhouse, Cel lo
Trio in B Flat Major , K. 502
Allegro
~o 1 fgang Amadeus f-1ozart
Trio
Larghet to
All egret to
Andante moderato
TSIAJ - Presto
Moderato con moto
Charles Ives
Intermission
Trio in B Major, Op . B
Allegro con brio
Scherzo: Allegro molto
Adagio
Johannes Brahms
A 11 egro
FINANCIAL i\SSISTANCE FOR TIUS EVENT HAS
BEEN PROVIDED BY TilE m SSOURI ARTS COUNCIL
COLUMBIA ARTISTS MANAGEMENT INC .
Personal Directi on : Michael R1es
Associate : Hattie Clark
165 West 57th Street, New York, NY 1001g
Steinway Piano Philips and Mercury Records
Chamber music - - compositions scored for min i mal musical forces, typi cally one
performer to a part--holds a s pecial place in the ears and minds of musicians
and music lovers . To the modern general audience, whose members have become
accustomed to hearing musi c of the fine-art tradition in large concert halls,
ho1~ever, this music originally intended to be performed in more intimate settings
for the pleasure of a few listeners may be perceived or considered a
less attractive medium of musical expression. By definition it lacks the
diverse and powerful capabilities of the orchestra, the multi-media opulence
of opera, and the focus on individual personality and display of a soloist,
each of these being more or less compatible with contemporary concert practice.
A piano trio, a string quartet, or a woodwind quintet by comparison cannot
supply and, most importantly, was never intended to provide the same dramatic
musical experiences expected by modern audiences from the "competitors " noted
above .
Yet i t i s precisely such limitations that engender chamber musi c ' s appeal and
attract contemporary performers and listeners . For it i s in t he chambe r music
context that musicians can interact with each other as in no other . In ensembles
whose members have enjoyed the luxury of playing togethe r for a long period,
the level of sensitive and sympathetic interplay can become so ref i ned that the
several musicians perform as one. This achievement in itself can be a source
of musical excitement and satisfaction every bit as exhilara t ing and rewarding
as the usually less subtle effects of other kinds of performing forces . An
added attraction is the necessary transparance of texture of such part music.
In its broadest sense, chamber music ha s existed since at least the Middle Ages,
but the modern repertory, with the exception of representati ve tr io sonatas of
the Baroque Era, begins with the late eighteenth-century masters' application
of the t hree- or four-movement sonata cycle (also to be found in symphonies,
concertos, and solo sonatas) to quartets and trios . In fact, it was with the
reduced forces of chamber music that the towering figures of the Classic Period,
Haydn and Mozart, resolved the technical and procedural challenges facing them.
All subsequent composers of chamber music, moreover, have accepted, modified,
or reacted to their solutions--especially the use of the sonata cycle, a respect
for the equality-of-parts ideal, and the subordination of individual virtuoso
elements. Of chamber music for three playe rs, the so-called piano trio for
violin, violoncello, and piano, represented on tonight's program by works of
~1ozart, Brahms, and Ives, has attracted by far the most composers . The contrasting
ranges and timbres of these instruments, as well as their general
popularity, help explain this.
* * * * *
The Piano Trio in B Flat Major, K. 502, of Wolfgang Amadeus 11ozart (1756-1791)
was composed in 1786 during a troubled period in the composer ' s life. His
response to the disappointing reception of his opera The ~1arriage of .Figaro (1786),
the death of an infant son, and mounting indebtedness was a burst of compositional
energy that enabled him to produce one exquisite piece after another . This piano
trio, one of seven such trios from his pen to be preserved, has been called by
the eminent twentieth-century Mozart scholar Alfred Einstein one of "the great
masterworks of the category." In spite of its periodic resemblance to a solo
keyboard sonata with string accompaniment, this work represents an early high
standard for the genre . Its three movements are cast in a fast-slow-fast
sequence: the first, an academic display of the composer's skills at manipulating
motivic material; the sec·ond, a haunting and deliberate aria for instruments; and
the third, a lively, tuneful, filigreed finale in rondo design . This closing
movement lacks the expected lightheartedness because of its harmonic excursions
to the minor mode . The inevitability of his music, its apparent simplicity, and
the ease with which artists perform it are among the great artistic deceptions
of all time and among the reasons for which Mozart will always be revered.
* * * * *
Although many musical figures have become subjects of fascination after their
heyday, few have aroused the depth of curiosity and admiration elicited by
the American composer Charles Ives (1874-1954), whose active composing s panned
the years between the mid-1880s and approximately 1921 . An imminently practical
Yankee, Ives realized early in his life that the times would not permit
him to support a family by writing the kind of music he wished to write.
Therefore, after a boyhood of musical adventures with his father and formal
music study at Yale, he devoted himself to what became a highly successful
career in the insurance business by day and composed for his own edification
by night and on weekends . It was only in the 1930s that his music attracted
a serious following, then only a few knowledgeable musicians . The celebration
of his genius on a wider scale began slowly in the 1950s, as his life
neared its end . Now he is often discussed as one of the most original and
remarkable composers America has produced.
His compositions are marked with the most far-reaching eclecticism: at one
extreme he· makes provocative and often unmistakable use of well-known tunes,
hymns, and classical "warhorses"; at the other he explores what became the
world of twentieth-century fine-art music with its conspicuously new
approaches to melody, harmony, texture, and rhythmic organization . His Trio
for Violin, 'Cello, and Piano (completed 1904, revised 1911, first performed
1948, published 1955) is reported to have been inspired by his presence at a
Yale class reunion in 1904 and is acknowledged by Ives in a letter to be an
evocation of college days on the Yale campus. The cerebral first movement
recalls a lecture by a professor of philosophy and, if not in methods, is in
spirit in keeping with the traditional academic character of the first movement
of the sonata cycle. The second movement, a scherzo entitled "TSIAJ"
(Ives's acronym for "This scherzo is a joke"), suggests the camaraderie and
antics of students by means of quotations from popular songs of his own
student days, such as "Marching through Georgia," "Jingle Bells," " Long Long
Ago," "How Dry I Am," and "Ta-ra-ra-boom-de-ay ." The third movement, which
serves as the traditional slow lyrical movement, describes a Sunday service
on campus and includes citations of such familiar hymn tunes as "Fountain"
(known by the text "There Is a Fountain Filled with Blood") and "Toplady"
(known by the text "Rock of Ages"). This trio, like most of Ives's music,
is original, witty, pungent, well-crafted, beautiful on its twentieth-century
terms, and difficult . Ives himself would have called it "ear-stretching ."
* * * * *
The hyper-emotionalism and the polarity of intimacy and theatrical i ty that
characterized the mainstream of nineteenth··century music-making is readily
heard in the Piano Trio No. 1 in B Major, Op. B, of Johannes Brahms (1833-
1897), after Beethoven his century's most prolific composer of chamber music
of lasting interest . Of the three compositions for this instrumentation by
Brahms, this first trio has attracted attention because the original version
completed in 1854, when he was part of Schumann's coterie of zealous Romantics,
was completely revised by him in 1889, after almost thirty-five years of
refining his compositional identity. The changes, however, are more than ccsmetic,
with alterations to the first, third, and fourth movements. One commentator
has noted that "it is a far cry from the impetuosity of the heart(
almost)-on-sleeve Brahms in his twenties to the eagle-eyed, exigent selfcriticism
objectively probing for weaknesses ." The revision, nonetheless,
is by no means an act of self-denial for it retains and confirms countless
stamps of Brahms's style : long-lined lugubrious melodies based on a vocal
model ; imaginative variation techniques; dark , sensuous harmonies in the
lower range; thick, redundant textures; and his celebrated efforts to combat
the "tyranny of the barline" by use of shifting accents and ambiguous rhythms.
This piece also exemplifies ways in which nineteenth-century composers
responded to the sonata cycle : the proportions of internal sections and complete
movements have been expanded; harmonic practice has been enriched; the
traditional dance movement (often omitted from its third position in the
sequence) has been transposed with the slow lyrical movement ; and the finale
has been given enough weight to bring the work to a dramatic conclusion.
* * * * *
Finally, it is of more than passing interest to note how the role of the
compo ser in society has changed since the late eighteenth century and what
the implication of such an evolution are for tonight's selections . In
Mozart's time, composers were viewed as highly skilled craftsmen e~pected
to provide an ephemeral and inobtrusive product for aristocrats; 1n general.
Mozart wrote music for princely diversions . Thanks largely to the example
of Beethoven, the appearance of a new middle-class audience, and new .attitudes
toward art nineteenth-century composers tended to nurture the1r own
individuality and to perceive themselves as high priests of culture:
Brahms wrote music for musical connoisseurs and for eternity . By the early
twentieth century , for both musical and sociological reasons , progressive
composers found themselves increasingly isolated from an audience that
balked at what are now understood as logical or inevitable innovations.
Charles Ives chose to forego the humiliating experience of procuring
listeners : he wrote music for himself . Thus, tonight's program can be
superficially and yet meaningfully described as one of high-class background
music, self-conscious art, and an insurance ~an's ~ct of self:
indulgence. From our v~ntage point, however, each 1s a t1meless mus1cal
treasure.
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~~~·&& M ~~sr;,~rgec:r:ao~sberg
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Robe rt Lee Wiseman
Elizabeth Worrell
Mr. & Mrs. Marvin E. Wright
Armon & Evelyn Yanders
H. Kell Yang, M.D.
Public Relations Coordinator: Joyce Mitchell
Community Activities Coordinator: Carole Patterson
Education Coordinator: Michael Budds
Box Office Manager: Nelda McCrory
Jesse Auditorium Manager: Larry Curry
House Manager: Melissa Clark
For information phone: Jesse Box Office 882-3781 or Concert Series Office 882-3875
Cello Music Collections
