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) Franz Joseph Haydn HI OZET (1732-1809) Adagio Vivace When one contemplates the considerable output of chamber music produced by Haydn during his lifetime, it is the string quartet medium which immediately springs to mind. However, one must also mention a large number of works for a combination of less fashionable interest that of the piano trio. Numbering thirty-one in total, they edT are nearly all mature works written between 1780 and 1800. 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 continuo. Eventually the harpsichord gained greater independence from its link with the basso continuo, while the instrument itself was replaced by the fast developing 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 strings from the piano. azow zow xorb 983000 ed of 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 al 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. ads at

TRIO IN C MINOR (op. 101) Allegro energico Johannes Brahms C (1833-1897)) Presto non assai Allegro molto Andante graziosols en mad beaubong alam d bir sulbam jezeup goved This trio was the third of the trilogy of chamber works that Brahms completed during 1886, which also inc- luded the F minor cello sonata and A major violin sonata. to The trio itself is generally regarded as one of his most inspired creations, combining moments of awesome power with moments of searching beauty. Specht describes the work as a self-portrait of Brahms, concentrating into 36 pages the whole nature of the man. xow (antioiv and sd fans. The Allegro opens in defiant fashion with massiveegabat chords shared by all three instruments, who expend tremen- dous energy in the vibrant, almost percussive dotted and triplet rhythms. Overall, the movement is cast in a tragic mould, yet there are sections of serene tenderness, most notably at the beginning of the C Sharp minor section in the development. The recapitulation follows a regular course and appears to move towards a subdued close, only o to be disrupted by a passionate outburst in the final bars. The Presto non assai, replacing the usual scherzo, is more introspective in nature, yet hurries along in ago ads eerie fashion, 'like a frightened child' (Tovey). The n trio and coda are based on an entirely new theme combined daten with an augmented version of the opening phrase. i da to send offs bos alfolv bail on The exquisite Andante demonstrates Brahm's indebted- 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 in the opening and closing sections. bal

di 8 ret bas mobsazl to fut at oxtados on 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 contained in the second subject group. The vice-like grip of the minor key tonality is eventually cast aside o when the coda modulates to the tonic major, transforming ad the main thematic material as the movement finishes in triumphant fashion. bu al show at se .alideias ajasba **********aulq smod to a3ee ignal smos lo INTERVAL I Gio ya sa ihsand bonisane sd 8936100ob 03 ifolv soubor at S modeira ni Jovon supine PIANO TRIO IN B FLAT qilg spoles Ludwig van Beethoven (op. 97, 'The Archduke') sasat was oil so bre Allegro moderato (1770-1827) zad Scherzo: allegro a nomad as assig Andante cantabile, ma pero con moto 198 Allegro moderato, Presto axla lady ads 1x ninago sa to up bim do 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 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. iv bordak al su abonos dooms aboziga nian ons This Structural extension is evident in the first movement, which is all but symphonic in conception.ds 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, whereupon the piano enters the fray. The trio or middle section consists of two thematic ideas; the first, a mysterious fugato, the ot 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. do uboda ods 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. A Further intensity of rhythmic movement occurs in the 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 theme, leading to a romantic coda that recalls the trip-d let movement of the first variation. azzy ci But cups and disa svig won bes 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 cod main theme is imbued with gaiety, but only at a super-svab 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, Notes by Graham Nelson

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

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