PROGRAMME TWO BARBICAN PIANO TRIO en boogmos Sophie Barbour lovbale od Violin 1081 ni Robert Max 'Cello James Kirby Piano Trio in E flat, Op. 44, Theme and 14 Variations Trio in G, Op. 1, No. 2 Trio in E flat, Op. 70, No. 2 Interval deilduq BEETHOVEN BEETHOVEN BEETHOVEN Saturday, 22nd April 1995 Harty Room, Queen's University, Belfast at 7.30 pm Robert Max

Variations in E flat Op. 44 IMMAN Theme (Andante) and 14 variations Beethoven (1770-1827) ST. QUAIS MADE Opus 44 was composed in 1792, a year or so before his Opus 1 Trios, but only published in 1804, hence the relatively late opus number. This delightful work has been unfairly criticised for being undistinguished, but it is amazing how resourceful Beethoven could be when faced with a stark theme which is both melodically and harmonically uninteresting. In fact the only point of real interest in the Theme is its unusual length, 22 bars. Even this is unlikely to make an audience leap to its feet. All the variations (except the extended Var XIV) keep strictly to the 22 bar framework and roughly the same harmony. This is often sparse, with a lot of octave writing and doubling. The two variations in the exotic key of E flat minor provide much more harmonic richness. Early in the work Beethoven gives each instrument an opportunity to display its virtuosic wares (piano in Var. II, violin in Var. III and 'cello in Var. IV) - a device which he used much later in the 'Kakadu' variations. In several variations (I, X and XII) he obsessively repeats a rhythmic motif - a particulary gruff and Beethoven characteristic. James Kirby - 1994 2001 IgA buss vobuno2 resistensvinU 2000 CH mg 08.0

Piano Trio in G Op. 1 No. 2 Adagio - Allegro Vivace Largo con espressione Scherzo: Allegro Finale: Presto Beethoven (1770-1827) Beethoven arrived in Vienna in 1792 at the age of 21 and took lessons in strict counterpoint, and possibly composition as well, from Haydn. The relation- ship, though cordial, was an uneasy one and lasted little more than a year. But the older master's prolific creation of works for piano trio, combined witht he connoisseur's devotion to this form of music-making, led Beethoven to consciously assign his Op. 1 to three such trios. berplanet Later in life, on re-reading the manuscripts of his Op. 1 trios, Beethoven wondered at his folly in collecting into single works materials enough for twenty. However the abundance of invention in each is kept in check by careful formal arrangement - possibly the greatest debt the trios actually owe to Haydn. Notice the way that the first theme of the allegro emerges from the introduction transformed by the change of pulse from three beats to two beats of per bar, and also the lengthy exploration of the 'second subject' material.com anamitnce to lui lovitizoq emase svilasqaroq inerottib The beautiful and unusual Largo is in the remote key of E major, and it has been suggested that its style owes much to C.P.E. Bach. The apparent simplicity of the scherzo provides sharp contrast to the zany trio section (a reversal of the effect created in the first trio of the set), and the effervescence of the finale is not without its own startling surprises. Robert Max

Trio in E Flat Op. 70 No. 2 Poco sostenuto - Allegro ma non troppo Allegretto Allegretto ma non troppo Finale - Allegro As written in the note for the first concert in this series, the two piano trios Op. 70 where written in the summer of 1807 in Heiligenstadt. Both trios were dedicated to Countess Maria Erody. mos o q0 Beethoven (1770-1827) The two trios are thoroughly complimentary in style; where the first has tautness and vigour the second displays breadth and grandeur. The rushing scalic unison of the opening of the D major trio is here magically transformed into a contemplative dialogue. Within each of the four movements, Beethoven explores the connections between seemingly disparate moods. In the first movement, the contrast is between the virtuosic element and the bursts of t song. In the second, the strident C minor interludes seem determined to gain the upper hand over the amiable major passages. A distinct lack of complica- tion in the third movement sets it apart from the philosophising that has preceded it. The last movement again shows how easily bravura, when viewed from a different perspective, seems positively full of sentiment. $) nou: sanso x&M nadox Robert Max puz githua nwo ati tuonti on ai