The Trio for Violin, Cello, and Piano is a work by the AmericancomposerCharles Ives. According to Charles Ives’ wife, the three movements of the piano trio are a reflection of Ives’ college days at Yale. He started writing the piece in 1904,
6 years after graduation, and completed it in 1911. It was written c. 1909-10 and significantly revised in 1914-15. The piano trio consists of three movements:
The first movement is the same 27 measures repeated three times, though the violin is silent for the first, the cello for the second, and all three instruments join for the third. Though the separate duets seem full enough on their own, yet all together sound amazingly and uncharacteristically consonant.
The second movement, TSIAJ, employs polytonality, timbral contrast, and quotation for a downright humorous effect. Fragments of Americanfolk songs are intertwined throughout the movement, although often grotesquely altered with respect to rhythm, pitch, and harmonic connotation. Folk songs appearing in the scherzo include "My Old Kentucky Home," "Sailor's Hornpipe," "The Campbells Are Coming," "Long, Long Ago," "Hold the Fort," and "There Is a Fountain Filled with Blood," among many others. Drawing from his college days at Yale University, Ives also quotes a number of fraternity songs including the Delta Kappa Epsilon tune "A band of brothers in DKE," which appears prominently near the beginning of the movement. It is notable that one of his sketches for the movement includes the subtitle "Medley on the Campus Fence," referring to the songs popular among Yale students during his college years. And although the composer himself acknowledged that the entire movement was a "joke," it well characterizes the unique and novel musical world that only Ives had discovered.
A piano trio is a group of piano and two other instruments, usually a violin and a cello, or a piece of music written for such a group. It is one of the most common forms found in classicalchamber music. The term can also refer to a group of musicians who regularly play this repertoire together; for a number of well-known piano trios, see below.
Form
Works titled "Piano Trio" tend to be in the same overall shape as a sonata. Initially this was in the three movement form, though some of Haydn's have two movements. Mozart, in five late works, is generally credited with transforming the accompanied keyboard sonata, in which the essentially optional cello doubles the bass of the keyboard left hand, into the balanced trio which has since been a central form of chamber music. With the early 19th century, particularly Beethoven, this genre was felt to be more appropriate to cast in the four movement form. Piano trios that are set in the Sonata tradition share the general concerns of such works for their era, and often are reflective directly of symphonic practice with individual movements laid out according to the composer's understanding of the sonata form.
Ravel had been planning to write a trio for at least six years before beginning work in earnest in March 1914. At the outset, Ravel remarked to his pupil Maurice Delage, "I’ve written my trio. Now all I need are the themes." During the summer of 1914, Ravel did his compositional work in the French Basque commune of Saint-Jean-de-Luz. Ravel was born across the bay in the Basque town of Ciboure; his mother was Basque, and he felt a deep identification with his Basque heritage. During the Trio's composition, Ravel was also working on a piano concerto based on Basque themes entitled Zazpiak Bat (Basque for "The Seven are One"). Although eventually abandoned, this project left its mark on the Trio, particularly in the opening movement, which Ravel later noted was "Basque in colouring."
Pyotr Ilyich Tchaikovsky's Piano Trio in A minor, Op. 50, was written in Rome between December 1881 and late January 1882. It is subtitled In memory of a great artist, in reference to Nikolai Rubinstein, his close friend and mentor, who had died on 23 March 1881. It is scored for the usual combination of piano, violin, and cello.
The work's first version was completed by late January 1882. Private performances were held in March and April. The work underwent considerable revision before its premiere on 30 October at a quartet concert of the Russian Musical Society in Moscow. The piano soloist was Sergei Taneyev; the other performers are unknown.
Movements
The piece is marked by a tragic perspective and is in two movements:
Total timing: approx 47:00.
The variations are as follows:
The pezzo is a darkly brooding and rather conventional romantic first movement with a beautiful opening cello solo with a theme that returns for a final funeral march. The second movement is rather more unusual: it opens with an almost classical melody, much like Tchaikovsky's Variations on a Rococo Theme for cello, and then proceeds with an assured set of variations, also like the Rococo Variations. After working itself into more and more ecstatic heights culminating with the final variation, it suddenly goes through a surprising modulation to the original minor key, and the theme from the first movement returns with an even greater gravity, and the entire piece concludes with yet another death march.
According to Jackiw, it’s based on the first four bars of Beethoven’sPianoTrio in D major, Op.70 No.1 “Ghost.” He describes it as “highly kinetic and agitated, with lots of play with texture that creates an ethereal spectral sound world.”.
San Diego Union-Tribune
28 Apr 2024
San Diego Union-Tribune
28 Apr 2024