LUNCHTIME CONCERT (50 minutes) – A more modern take – influenced by
Schumann1
Following the legacy of Schumann’s Trio, Märchenerzählungen, from its
inspiration through to characterful works directly written as a result of it,
including the charming final work in the programme written for The Phantasy
Trio.
Kegelstatt Trio, KV 498
I Andante
II Menuetto
III Rondeaux Allgretto
Wolfgang Amadeus Mozart (1756-1791)
Märchenerzählungen, Op. 132
I Lebhaft, nicht zu schnell
II Lebhaft und sehr markiert
III Ruhiges Tempo, mit zartem Ausdruck
IV Lebhaft, sehr markiert
Hommage å R. Schumann
I Vivo
II Molto semplice piano e legato
III Feroce agitation
IV Calmo Scorrevole
V Presto
VI Adagio poco andante
Hommage å G. Kurtag
Robert Schumann (1810-1856)
COFFEE or AFTERNOON CONCERT (1 hour) – Invitation to s Salon Concert2
An exploration of the wonderful Salon Concert setting, for which the majority of
18th/early 19th century works were written, and also encompassing the hugely
popular arrangements of works for a chosen combination, that was so prominent
at this time, now all but forgotten.4
Kegelstatt Trio, KV 498
III Rondeaux Allgretto
Wolfgang Amadeus Mozart (1756-1791)
Märchenerzählungen, Op. 132
I Lebhaft, nicht zu schnell
II Lebhaft und sehr markiert
III Ruhiges Tempo, mit zartem Ausdruck
IV Lebhaft, sehr markiert
Robert Schumann (1810-1856)
Brahms Song arranged for Trio.
György Kurtág (b. 1926)
First movement of Moonlight Sonata
arranged for Trio (as Pub. 1800’s)
Trio Pathetique in D minor
I Allegro moderato
II Scherzo: vivacissimo
III Largo
IV Allegro con spirit
Gregory Drott (b. 1986)
_________________________________________________________________________
Mikhail Glinka (1804 – 1857)
Fee £360
The Phantasy Trio also have a educational workshop specific to this programme, fee if with concert
£150. If separate, £300.
4 The Phantasy Trio can perform a programme of this nature on period instruments, if a fortepiano can
be provided.
3
Fee £300, we aim to keep this as modest as possible, to enable performances in all contexts.
Ludwig Beethoven (1770 – 1827)
Encore, (if appropriate), today’s salon music – an arrangement/improvisation on a
popular tune, for example if Christmas, Chestnuts Roasting on an Open Fire, or
similar.
_________________________________________________________________________
2
1
3
AFTERNOON CONCERT (1 hour) – An Indian Summer and Holiday
Inspirations
A programme of works written in other lands, including Russian composer,
Glinka’s Trio written in Italy, British composer Holbrooke’s Debussy and French
inspired Nocturne, and a selection of Bruch’s eight pieces, written in his retirement
retreat.
Trio Pathetique in D minor
I Allegro moderato
II Scherzo: vivacissimo
III Largo
IV Allegro con spirit
Nocturne ‘Fairyland’, Op. 57/I
Acht Stücke, Op. 83
No. I Andante
No. II Allegro con moto
No. V Rumanische Melodie
No. VI Nachtgesang
No. IV Allegro agitato
No. VIII Moderato
Mikhail Glinka (1804 – 1857)
Joseph Holbrooke (1878 – 1958)
EVENING CONCERT (2 halves) – A Tale of Intrigue5
This programme presents the journey of the relationship between clarinet, viola
and piano, and the interest these instruments have provided to composers through
the ages, from Mozart’s evolution of the trio to today through a small selection of
the repertoire, the 2 canonic Brahms Sonatas, Francaix’s witty trio and the Bruch
double concerto.
Kegelstatt Trio, KV 498
I Andante
II Menuetto
III Rondeaux Allgretto
Wolfgang Amadeus Mozart (1756-1791)
Trio Pathetique in D minor
III Largo
IV Allegro con spirit
Mikhail Glinka (1804 – 1857)
Max Bruch (1838-1920)
_________________________________________________________________________
Sonata in E-flat major, No. 2, Op. 120
I Allegro amabile
II Allegro appassionato-Sostenuto-Tempo I
III Andante con moto - allegro
Johannes Brahms (1833-1897)
*** INTERVAL ***
Sonata in F minor, No. 1, Op. 120
I Allegro appassionato
II Andante un poco Adagio
III Allegretto grazioso
IV Vivace
Trio for clarinet, viola and piano
I Preludio: Largo
III Scherzando
V Presto
Double Concerto in E minor, Op. 88
III Allegro molto
5
Fee £450.
Johannes Brahms (1833-1897)
Jean Françaix (1912-1997)
Max Bruch (1838 – 1920)
EVENING CONCERT (2 halves) – Core masterpieces – Mozart and Schumann
framed by Bruch’s sublime eight pieces.6
No. III Andante con moto from Acht Stücke, Op. 83
Max Bruch (1838-1920)
No. VII Allegro vivace, ma non troppo from Acht Stücke, Op. 83Max Bruch (1838-1920)
***
Märchenerzählungen, Op. 132
I Lebhaft, nicht zu schnell
II Lebhaft und sehr markiert
III Ruhiges Tempo, mit zartem Ausdruck
IV Lebhaft, sehr markiert
Robert Schumann (1810-1856)
***
No. I Andante from Acht Stücke, Op. 83
No. II Allegro con moto from Acht Stücke, Op. 83
Max Bruch (1838-1920)
Max Bruch (1838-1920)
*** INTERVAL ***
No. IV Allegro agitato from Acht Stücke, Op. 83
No. V Rumanische Melodie from Acht Stücke, Op. 83
Max Bruch (1838-1920)
Max Bruch (1838-1920)
***
Kegelstatt Trio, KV 498
I Andante
II Menuetto
III Rondeaux Allgretto
Wolfgang Amadeus Mozart (1756-1791)
***
No. VI Nachtgesang from Acht Stücke, Op. 83
No. VIII Moderato from Acht Stücke, Op. 83
6
Fee: £450
Max Bruch (1838-1920)
Max Bruch (1838-1920)
Max Bruch was inspired by his son, Max Felix, a gifted clarinettist, to write the
Acht Stücke (Eight Pieces) in 1910 when he was 72. Having already written the only
(until the later twentieth century) double concerto for clarinet and viola, Bruch was
greatly interested in new instrument combinations in his writing, and in fact
numbers 3, 5 and 6 were originally for harp, clarinet and viola. Although
published together, the eight pieces do not form a cycle and Bruch did not intend
them to be strictly performed in this order or in an entirety without break or
interjection. These Eight Pieces show a final successful return to chamber music for
the mature Bruch, and with them he retired from composition.
The end of Robert Schumann’s life is a sorrowful tale as his bouts of depression,
suicide attempts and mental insanity increased, causing him to end up in an
asylum. In 1853 a new friendship with the young Johannes Brahms and Albert
Dictrich gave Schumann one last release and outburst of creation in which he
composed his very last works, including this Märchenerzählungen Op. 132, which is
dedicated to Dictrich. Schumann was a quintessential romantic, equally passionate
about literature as he was music, and leading him to write many fanciful
miniatures such as these Märchenerzählungen, which roughly translates as “Fairy
Tales”. Specific references in literature for these four miniatures are unknown, but
colourful moods and characters are expressed through a lively introduction, a
march, a tender slow movement and an animated finale, all subtly linked with
thematic references and light-hearted, but with an underlying hint of disturbed
agitation.
Mozart wrote the Kegelsttat trio in August 1786, dedicating it to Franziska Jacquin,
who was the pianist at the premiere when Mozart played the viola and Anton
Stadler the clarinet. The clarinet was a relatively unknown instrument until Mozart
began writing for it, in particular for Anton Stadler and bringing it to the
foreground of wind instruments, and the position it occupies today. The first
composer to write for this combination, it was Mozart who lay the path of
inspiration for the wonderful trio’s that followed in Romantic music. The word
Kegelsttat, meaning skittles, refers to a skittle alley where the previous week in
1786 Mozart had written 12 basset horn duos, but there is no evidence that this trio
was written there, and in fact it was the publishers who added this title to aid the
selling popularity of the work. Uniquely starting with a slow movement, Andante,
in this trio Mozart still employs his classic sonata form throughout, often in
ingenious ways.
These are simply sample programmes, and we are always very happy to tailor a
programme to any individual situation or theme.
Our repertoire list can be found here, but this is by no means exhaustive:
http://www.phantasytrio.co.uk/#/repertoire/4567444515