PROGRAMME THREE BARBICAN PIANO TRIO Sophie Barbour Violin 'Cello Robert Max James Kirby Piano Trio in G, Op. 121a (Kakadu Variations) Trio in C minor, Op. 1 No. 3 Bovortiss (S81-001) Interval Trio in B flat, Op. 97 (The Archduke) BEETHOVEN BEETHOVEN BEETHOVEN 1 q0 tonim 3 ni onT od nos orgailA Sunday, 23rd April 1995 Harty Room, Queen's University, Belfast at 4.00 pm Suns M bbodT owol idzildug olsidesleanu i gnidem' audi

Variations on 'Ich bin der HT MAN Schneider Kakadu' Op. 121 Introduction (Adagio assai Theme (Allegretto) with 10 variations (No. 9 Adagio esspressivo - No. 10 Presto - Allegretto) 2 The late opus number of this work points to an interesting stylistic division caused by the circumstances of the work's composition and publication. The variations themselves, on a theme from a popular song of the day by Wenzel Muller were probably composed in 1803, but when it came to publishing the work Beethoven might have found the substance of the music written more than a decade earlier, slight in comparison with works more recently com- pleted; hence the nature of the Adagio assai introduction that opens the work. Within it are momentary anticipations of motifs that come to fruition later in the variations, but the somewhat portentous style almost suggests a certain condescension on Beethoven's part towards the frivolities in his earlier work. HTHEA (lubda edT) Beethoven (1770-1827) Trio in C minor Op. 1 No. 3 Allegro con brio Andante cantabile con Variazioni Menuetto (Quasi Allegro) Finale (Pianissimo) 2001 IgA ES Robert Max Jell & oront Beethoven (1770-1827) bru 2 moog Trif The third of the Lichnowsky Trios is often regarded as the finest of the set. However in 1794 it was rumoured that Haydn advised the composer against publishing this trio because three of the four movements were in minor keys, thus making it unsaleable. No doubt the quiet ending didn't help matters either. For Haydn, piano trios were often slight works, never with more than three movements, composed with amateurs in mind. However, in his Opus 1 trios, Beethoven elevated the piano trio into the realms of the string quartet by enlarging the scale of the works and casting them in four movements.

The opening of the first movement is reminiscent of the pent-up energy of Mozart's C minor concerto K491. (Many other passages throughout the work have more than a passing likeness to the Sonata in C minor K457). The violin cadenza in the 9th bar looks ahead to the oboe cadenza in the first movement of his own fifth symphony (also in C minor). The slow movement is the only one of the Op. 1 set to be in variation form. Another Mozartian touch is to give the piano prominence in alternative variations (making the strings the dominant feature in the other ones). The third movement - menuetto (unlike the scherzo marking in the other Op. 1 trio) is rather austere and intense; however there is some lightness and even humour in the trio. The finale, with the extreme tempo marking of 'prestissimo' is operatic in its dramatic gestures - loud, angry upsurges contrasted with very soft passages of bottled-up energy. The singing second subjects provides a brief oasis of respite, but not for long. Even the unexpected pianissimo ending in C major does not leave one with the feeling that all has been resolved.mer gnibila James Kirby - 1994 litnu bozoomoo ove siamo je to you botoqxenu od ni aralungber Trio in B flat Op. 97 'The Archduke' Allegro moderato; Scherzo (Allegro) Andante cantabile, ma pero con moto (Variations) Allegro moderato - Presto urday, 20th Many composers associated certain moods with particular keys and Beethoven was no exception. Whereas C minor was reserved for drama and passion, (Fifth Symphony and 'Pathetique' Sonata) E flat major was for majesty and nobility ('Eroica' Symphony and 'Emperor' Concerto), B flat major was for breadth and grandeur. His largest string quartet (Op. 130), piano sonata (Op. 106) and Piano Trio (Op. 97) are all in this key. Beethoven (1770-1827)

It is not only Beethoven's profoundest piano trio, but also the most integrated, thematically and texturally. The opening theme from the first movement is very similar in shape to the beginning of the second movement and the second subject in the first movement uncannily resembles a speeded-up version of the theme from the slow movement. The scoring in this trio is extremely subtle - often the string picking out some inner harmonies from the piano part. Often the instruments play within a very narrow range (the violin part is particularly low) as Beethoven became increasingly obsessed with closely-knit counter- point. The first movement is a beautifully broad, singing movement. It has been aptly described as the 'great poet-musician resting'. The extending pizzicato and trill passage at the beginning of the development must have sounded very avant garde at the time. The second movement is a sunny, dancing scherzo with some particularly Schubertian textures such as the piano in octaves high above the strings. A large cloud appears over the horizon in the mysterious trio section with its sliding harmonies and ambiguous rhythms. The last trio movements are linked, making by far the largest uninterrupted span of piano trio music ever composed until then. There is a radiant set of variations in the unexpected key of D major, magically slipping into a rondo theme which begins in E flat major and works its way back to B flat major. Beethoven specialists will remember the beautiful link between the last trio movements of his G major piano concerto. (TS81-07T1) DV)019 00 01 om enlarging James Kirby - 1994 nevartoof bas zyad elupinaq ritiw aboom ninhoo baisiboze 1980s noizzaq bas serb 201 bvs291 28W Tonimow nogas on pa bak jam 101 w toj 8 (stano? 'oupitodie bas yoodqmy mirt) hoogma bas norkqmv2 sot uw lojem ih 8 (onsono Pqoyandonin/Oe

The Barbican Piano Trio The Barbican Piano Trio is widely regarded as one of the leading ensembles of its generation having performed at international festivals and in major concert series throughout the UK. Highlights include performances at the Sheffield and Blackheath Chamber Music Festivals, the Queen's Hall in Edinburgh, the Wigmore Hall in London, the Royal Philharmonic Hall in Liverpool and Cardiff's St. David's Hall. In addition to frequent broadcasts on BBC Radio 3, the Trio has performed live on the BBC World Service, appeared on Yorkshire TV and recorded for ASV. The Trio won the 1986 South East Arts young musicians' platform and the 1988 Royal Overseas League Ensemble Prize. Their performances at the Park Lane Group Series in 1989 and 1990 received widespread critical acclaim. The Trio has a particular interest in British composers and has a growing repertoire of works by Hugh Wood, Alexander Goehr, Alan Bush, John Ireland, William Sterndale Bennett and Frank Bridge. Abroad, the Trio has appeared in Denmark, France, Italy, Sweden and the USA. The British Council has supported tours in Bulgaria, South America, the Far East and Russia. 'All three players are musicians of the highest order. Not only is their technical mastery absolutely secure but they play with a passion, conviction and freshness that has one listening anew to every phrase.' Next Recital Saturday, 20th May 1995 Nicola Hall - Guitar Elmwood Hall 7.30 pm 2 The Times