THE BRITISH MUSIC SOCIETY OF NORTHERN IRELAND in association with The Arts Council of Northern Ireland and The Music Department, Queen's University THE PARIKIAN TRIO Manoug Parikian (violin) Amaryllis Fleming (cello) Bernard Roberts (piano) Sunday, 11 March 1979 Elmwood Hall 3.30 p.m.

PIANO TRIO IN A MAJOR (Hob. xv/9) Adagio Vivace Franz Joseph Haydn (1732-1809) When one contemplates the considerable output of chamber music produced by Haydn during his life time, it is the string quartet medium which immediately springs to mind. However, one must also mention a large number of antov works for a combination of less fashionable interest that of the piano trio. Numbering thirty-one in total, they are nearly all mature works written between 1780 and 1800. svog sinoesve to.830OUB DUI w The origins of the piano trio can be traced back to the Baroque trio sonata where two melodic instruments (usually violins) were allied to harpsichord and cello a continuo. Eventually the harpsichord gained greater independence from its link with the basso continuo, while the instrument itself was replaced by the fast developing o fortepiano. Thus, one finds that music written for the piano trio had moved to the other extreme, where the key- board instrument was now the dominant melodic partner, whereas violin and cello were treated merely as accom- panying parts. This is the conception found in the piano trios of Haydn where little independence is given to the O strings from the piano.dius sienoisang The only exception to this formula can be formed in the opening Adagio of the A major trio, where all three instruments are given equal melodic prominence, most notably the cello which is normally tied closely to the bass of the piano (a throwback to its role as a continuo instrument). Here one finds violin and cello sharing the thematic material for much of this binary form movement. while the piano merely accompanies. The roles are reversed, however, in the following vivace where the piano becomes the focus of attention. This sparkling movement follows a moz typical sonata form pattern, the first subject of which is characterised by a 'scotch snap' rhythmic figure, in con-bo trast to the simple melodic charm of the second subject. dob cie

TRIO IN C MINOR (op. 101) Allegro energico Presto non assai Johannes Brahms A (1833-1897) Andante grazioso edelcunosnos eno mod Allegro molto besubong alasan sodando This trio was the third of the trilogy of chamber works that Brahms completed during 1886, which also inc-rou luded the F minor cello sonata and A major violin sonata.So The trio itself is generally regarded as one of his most 13 inspired creations, combining moments of awesome power with moments of searching beauty. Specht describes the work as a self-portrait of Brahms, concentrating into a 36 pages the whole nature of the man. ow (anticiv baodolecand sds liausaevä The Allegro opens in defiant fashion with massive chords shared by all three instruments, who expend tremen- alt dous energy in the vibrant, almost percussive dotted and triplet rhythms. Overall, the movement is cast in and ou tragic mould, yet there are sections of serene tenderness, mod most notably at the beginning of the C Sharp minor section de in the development. The recapitulation follows a regular course and appears to move towards a subdued close, only sol to be disrupted by a passionate outburst in the final bars.s The Presto non assai, replacing the usual scherzo, is more introspective in nature, yet hurries along in lago ods eerie fashion, like a frightened child' (Tovey). The trio and coda are based on an entirely new theme combined daten with an augmented version of the opening phrase.gada ats guizade ofiso bos allolv sbait smo osl (auto The exquisite Andante demonstrates Brahm's indebted-com ness to the folk song for rhythmic originality, with a mixture of 3/4 and 2/4 bars. This subtle rhythmic varia- tion persists into the central episode with alternation of 9/8 and 6/8 bars. Even the texture is treated in unor- thodox fashion with the strings paired against the piano

18 tot bas moboszl to livt at 27 Unrelenting energy returns once again at the outset of the Allegro molto and only slackens momentarily in tempo to give full scope to the tempestuous material as di contained in the second subject group. The vice-like booose grip of the minor key tonality is eventually cast aside 308 when the coda modulates to the tonic major, transforming and the main thematic material as the movement finishes in triumphant fashion. bru al dow to sosiga ol 003 03 15 gnal omos lo * * * * * * * * * * sulg omoda lo eseis INTERVAL ishsaid bonistane * * * * * * * * * *i sad sild 89381000b souborsat S modelzsV ni Jumsvon 19v uplase poleso Ludwig van Beethoven (1770-1827) R lolv PIANO TRIO IN B FLAT (op. 97, The Archduke')mav 913 sosok woons oil so bre Allegro moderatogi: Tovupines to goleib Scherzo: allegro sa sinomad als sostenito Andante cantabile, ma pero con moto 1981 Allegro moderato, Prestoaselsson sladigi alda qoxe gninaqo Dedicated to one of Beethoven's devoted patrons, the Archduke Rudolph, the B flat trio of 1811 stands as one of the greatest works of the composer's considerable output. Only 25 years separate this work from that of Haydn, yet l Beethoven had now given each instrument equal status, especially the cello, which was completely unshackled from the bass part of the piano. The formal structure had also been given a new dimension, derived no doubt from the development of his symphonic writing. iw bedmi abouos comis shoaigs ning ons slide This Structural extension is evident in the first movement, which is all but symphonic in conception.ods Following a majestic opening phrase that establishes the mood of the whole work, a second subject in the unexpected key of G major is introduced. A three-part development section alternating between activity and repose precedes a regular recapitulation section.

The scherzo is full of freedom and joy. Strings alone announce the main theme, where upon the piano enters the fray. The trio or middle section consists of two 16 thematic ideas; the first, a mysterious fugato, the dogmat second, a contrasting ide a more light-hearted in nature. Both sections are then repeated, leading to a short coda based upon the fugato idea. ada o 29diubou aos oda al endaiatt 1000vom ada The centrepiece of the work is undoubtedly the Andante cantabile. A movement of some length, it con- sists of a theme plus four variations. The theme, in the key of D major, is typical of the composer in its sustained breadth. In Variation 1, the piano brilliantly decorates the theme in triplet quavers, giving way to semiquaver movement in Variation 2 introduced by violin and cello, with only occasional glimpses of the theme. KAT Further intensity of rhythmic movement occurs in the ego) next variation. Here, violin and cello enter into a dialogue of semiquaver triplets with the piano that emphasises the harmonic structure of the main theme, rather than the melodic line. The final variation halts this rhythmic acceleration by a return to the simple crochet and quaver pattern of the opening, except for an undercurrent of unrest, confined to the piano part. Frequent modulations give new meaning to the original braza theme, leading to a romantic coda that recalls the trip- let movement of the first variation. a3 a coups de co The finale, in rondo form, is linked to the Andante. The mood of the music is somewhat mysterious and bears no relationship to that of the earlier movements. The main theme is imbued with gaiety, but only at a super- ficial level, while the main episode almost sounds brutal by contrast.. The final two appearances of the rondo theme move into 6/8 time, bringing with them a simplified version of the rondo theme, azom ods Notes by Graham Nelson SE3

CSABA ERDELYI (viola) and MELANIE DAIKEN (piano) Saturday, 7 April 1979, 7.30 p.m. Whitla Hall Weber Schumann NEXT CONCERT Hindernith Daiken Kodaly Bartók Andante e Rondo Ungherese Fairy Tale Pictures (op. 113) Sonata (op. 11 no. 4) Viola Sonata (1977) Adagio First Rhapsody

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