PROGRAMME TWO BARBICAN PIANO TRIO Abaugo Sophie Barbour vale od Violin 081 ni borlailduq Robert Max James Kirby 'Cello Piano Trio in E flat, Op. 44, Theme and 14 Variations BEETHOVEN Trio in G, Op. 1, No. 2 BEETHOVEN Interval Trio in E flat, Op. 70, No. 2 BEETHOVEN Saturday, 22nd April 1995 Harty Room, Queen's University, Belfast at 7.30 pm Robert Max

Variations in E flat Op. 44ЯЗНЯЯ Theme (Andante) and 14 variations Beethoven (1770-1827) 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. Mdo 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. 2001 InqA bass yobuno? James Kirby 1994 - 18 izvinU Q.moo mg OECD

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. bermolens 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 it per bar, and also the lengthy exploration of the 'second subject' material. 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 SoMqO Beethoven (1770-1827) 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. 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 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. Robert Max s) nouso zaM nedo wo