Waikanae Music Society

PROGRAMME
TRIO VICTORIA

SUNDAY 31 July AT 2.30PM,
WAIKANAE MEMORIAL HALL

WOLFGANG AMADEUS MOZART(1756-1791)

PIANO TRIO in C MAJOR KV548

Allegro
Andante cantabile
Allegro Mozart wrote three piano trios, of which this is the second, in the summer of 1788, between the composition of his great E Flat and G Minor symphonies. His financial troubles were desperate and his opera Don Giovanni, although a success the previous year in Prague, had failed in its first season in Vienna. It is thought that he had hoped to rehabilitate himself financially with these trios. The piano trio as a form was extremely popular and in order to keep up with public demand, publishers were making arrangements of orchestral works for piano trio. Beethoven himself made arrangements of his own second symphony and his Septet. So Mozart, possibly hoping to gain the maximum return from the public, wrote these trios in a rather more flamboyant virtuoso/concerto style than was usual for chamber music at the time. The music, however pecuniary its motives may have been, is pure genius, Mozart at his seemingly effortless best, filled with glorious melodies and brilliant interplay between the instruments.

JOAQUIN TURINA (1882-1949)
PIANO TRIO Opus 35
Prelude et Fugue
Theme et Variations
Sonate
Turina was born in Seville in 1882 and was one of Spain's greatest composers of the first half of the 20th century, helping to establish the reputation of Spanish music on the world stage. He studied and worked in Madrid and then in Paris and when he returned to Spain in 1914, his reputation was already firmly established. He became Professor of Composition at the Madrid Conservatorium in 1931 and was also renowned as a pianist, music critic and conductor, conducting the National Ballet of Spain. His compositions, including operas, orchestral works, and solos for piano and guitar as well as chamber music, are approachable and conservative. In typically nationalistic style, he evokes the sights and sounds of Spanish life through frequent use of folk song, flamenco rhythms and guitar-like sounds.

INTERVAL
and a glass of comlimentary wine or fruit juice.

PETER ILYICH TCHAIKOVSKY(1840-1893)
PIANO TRIO in A MINOR Opus 50
Pezzo elegiaco
Tema con variazioni-
Variazione finale e coda
In December 1881, Tchaikovsky began work on this trio, assuring his patron Mme von Meck in a letter of 27 December that her anticipated joy in the completed composition was what spurred him on. But there was another more compelling reason for Tchaikovsky to turn to the piano trio at this time. He had suffered a severe blow earlier that year when he heard of the sudden death of his close friend and fellow musician Nickolay Rubinstein. Tchaikovsky sought to enshrine Rubinstein's memory in the way of a piano trio - intimate enough to be personal yet allowing the piano - Rubinstein's instrument - to play a major role.

The Trio is technically only in two movements: the finale is really a sustained 'summing up' of the previous movement. The first movement is a richly melodious elegy in which the piano, appropriately enough, assumes almost concerto-like proportions. The Theme and Variations depicts aspects of Rubinstein's character and of his relationship with the composer. The 11 variations, exceedingly diverse in mood and style, give way to a Finale in which Tchaikovsky's tribute reaches its fullest measure and where repose is found only in the slow funeral march of the final bars.

WOLFGANG AMADEUS MOZART(1756-1791) PIANO TRIO in C MAJOR KV548 Allegro Andante cantabile Allegro	Mozart wrote three piano trios, of which this is the second, in the summer of 1788, between the composition of his great E Flat and G Minor symphonies. His financial troubles were desperate and his opera Don Giovanni, although a success the previous year in Prague, had failed in its first season in Vienna. It is thought that he had hoped to rehabilitate himself financially with these trios. The piano trio as a form was extremely popular and in order to keep up with public demand, publishers were making arrangements of orchestral works for piano trio. Beethoven himself made arrangements of his own second symphony and his Septet. So Mozart, possibly hoping to gain the maximum return from the public, wrote these trios in a rather more flamboyant virtuoso/concerto style than was usual for chamber music at the time. The music, however pecuniary its motives may have been, is pure genius, Mozart at his seemingly effortless best, filled with glorious melodies and brilliant interplay between the instruments.
JOAQUIN TURINA (1882-1949) PIANO TRIO Opus 35 Prelude et Fugue Theme et Variations Sonate	Turina was born in Seville in 1882 and was one of Spain's greatest composers of the first half of the 20th century, helping to establish the reputation of Spanish music on the world stage. He studied and worked in Madrid and then in Paris and when he returned to Spain in 1914, his reputation was already firmly established. He became Professor of Composition at the Madrid Conservatorium in 1931 and was also renowned as a pianist, music critic and conductor, conducting the National Ballet of Spain. His compositions, including operas, orchestral works, and solos for piano and guitar as well as chamber music, are approachable and conservative. In typically nationalistic style, he evokes the sights and sounds of Spanish life through frequent use of folk song, flamenco rhythms and guitar-like sounds.
	INTERVAL and a glass of comlimentary wine or fruit juice.
PETER ILYICH TCHAIKOVSKY(1840-1893) PIANO TRIO in A MINOR Opus 50 Pezzo elegiaco Tema con variazioni- Variazione finale e coda	In December 1881, Tchaikovsky began work on this trio, assuring his patron Mme von Meck in a letter of 27 December that her anticipated joy in the completed composition was what spurred him on. But there was another more compelling reason for Tchaikovsky to turn to the piano trio at this time. He had suffered a severe blow earlier that year when he heard of the sudden death of his close friend and fellow musician Nickolay Rubinstein. Tchaikovsky sought to enshrine Rubinstein's memory in the way of a piano trio - intimate enough to be personal yet allowing the piano - Rubinstein's instrument - to play a major role. The Trio is technically only in two movements: the finale is really a sustained 'summing up' of the previous movement. The first movement is a richly melodious elegy in which the piano, appropriately enough, assumes almost concerto-like proportions. The Theme and Variations depicts aspects of Rubinstein's character and of his relationship with the composer. The 11 variations, exceedingly diverse in mood and style, give way to a Finale in which Tchaikovsky's tribute reaches its fullest measure and where repose is found only in the slow funeral march of the final bars.