XV best demonstrates how well Haydn learned to work within the limitations imposed by the amateur market. Their role here is essentially contrapuntal—we must remember that Haydn literally invented classical-style counterpoint with his Op. Haydn: Four piano trios Composers. Franz Joseph Haydn. Release date October 01, Periods Classical. Buy the album. Archambault — CD. Choose your streaming platform. Methodist Church Witney. Sunday March 4th. Monday January 22nd. Saturday January 20th. Friday December 8th. Hall for Cornwall. Thursday November 16th. Guildhall, Bath. Saturday November 11th.
Sunday November 5th. Monday August 28th.
Haydn: Four piano trios
Saturday August 26th. Monday July 31st. Sunday July 16th. Sunday April 30th. Saturday April 29th. Saturday April 22nd. Wednesday November 30th. Sunday November 20th. Thursday October 27th. LINK to a Twitter feed entry from this concert with photo. Saturday September 24th. Saturday July 30th. Saturday July 16th.
January 24thth. Saturday January 9th. Thursday November 26th. Wednesday November 11th. Thursday October 29th. New Walk Museum and Art Gallery. Friday October 16th. Artrix Theatre, Bromsgrove. Saturday October 3rd. Kings Place, Hall Two. Thursday October 1st. Wednesday September 9th. Rotary Club Oslo. Rotary Club Info here. Sunday August 16th. North Norfolk Music Festival. Box Office Information here. Saturday August 15th. Friday August 14th. Wednesday August 5th. Sunday June 14th. JW3 flyer for this performance. Sunday - Wednesday June 7thth.
Mon-Friday May 18thnd. Link to Kirker Holidays webpage. This was as gutsy and passionate a reading of his D minor Trio as any I've heard. They handled the song-without-words manner of the second movement elegantly but also, as in the Haydn, responded readily to the darker turn the music took later. The scherzo was infectiously bubbly, the final cadence placed with spot-on precision. We don't usually think of Mendelssohn as barnstorming but the Trio's way with the finale came pretty close.
Brahms's Trio in B, played in the later revision generally preferred to the original, got off to a firm, unhurried, start, signalling a performance that probed the work's depths while avoiding undue ponderousness. The second movement was notable particularly for the players' song-like way with the trio section, and again their response to the sudden darkening at the lead-back to the scherzo.
They brought a feeling of intense concentration to the third movement, and caught the understated but very real note of anxiety in the finale, and the bluntness of its minor-key ending. Mike Wheeler It is difficult to avoid superlatives when reviewing the exhilarating recital on Sunday last by the Aquinas Piano Trio. The Aquinas played with verve throughout, with Martin Cousin in particular revelling in the virtuosic opportunities the piano part afforded. All three pieces invited and received high-octane treatment by the Aquinas.
It was a nice touch to conclude with an unfamiliar encore that soothed an excited audience without dissipating the exalted mood in which they now found themselves. This was their first visit to Bristol and the two works they chose were in contrast to each other. They opened with one of Haydn's 32 piano trios, number This was a superlative performance of the little-known work with vital, refined playing throughout that was responsive to the music's richness and variety.
There was a wonderful quality of softness in the andante, while the march-like finale had immense wit and virtuosity. Beethoven's Archduke trio was dedicated Archduke Rudolph of Austria, who was a pupil of the composer. Completed in , the first public outing was in , with the composer as piano soloist. Opening with the pianist Martin Cousin producing some powerful and expansive playing, the violin of Ruth Rogers and cello of Katherine Jenkinson soon joined in and there was a delightful passage from the piano with pizzicato in the strings. There was a certain lightness in the mischievous Scherzo and the trio expressively presented delicate and louder moments, building up to the exciting finish.
The lengthy Andante opened with a hymn-like piano melody, considered to be one of Beethoven's noblest, followed by some rich harmonies as all three instruments wove their way through four variations. One particularly impressive episode had the pianist using widespread arpeggios with gentle asides from the strings. In the last variation, all three expounded the melodic patterns, leading straight into the sprightly finale, where they showed their true versatility. This excellent performance provoked an enthusiastic response. These are the first piano trios to integrate all the instruments into a recognisable modern classical form, even though the cello still partly retains its baroque role in supporting the piano bass line complete freedom first occurs in late Haydn trios.
They spoke about it
Manuscripts show how great the effort was for Mozart to balance the increasing power of fortepianos with violin and cello. The first movement Allegro, a monothematic sonata reminiscent of Haydn, but entirely Mozartian in its delicacy, was played with a bel canto clarity that made the spine tingle. This was the last chamber work to be published in his lifetime, Mendelssohn only recently having experienced the death of his beloved sister and muse, Fanny, and become passionately involved with the singer Jenny Lind.
Passion and grief pervade this tempestuous piece which is driven by intimations of mortality Mendelssohn recognising the effects of his own predisposition to apoplexy and overwork. The Aquinas Piano Trio gave a truly moving account of this masterpiece, with exquisite phrasing by the piano, superb balance of ensemble, and heart-felt emotion. The desperation of the fiery opening C minor Allegro was brilliantly contrasted with the resigned acceptance of fate in the love duet between strings in the Andante second movement.
The delicate strength of the ephemeral third movement Scherzo was beautifully captured, as fleeting as life itself, while the closing C minor Allegro was not allowed to lose its driving edge, or overindulge the intrinsic sentimentality of its Et in Arcadia ego theme. This was a high point of the evening, with superb ensemble playing, and the incredible intensity of emotion effortlessly conveyed to a spellbound audience.
Aquinas Piano Trio, Press
From the glorious opening Allegro con brio, with its virtuosic cross-rhythms, through the driving second movement Scherzo, to the transcendental Intermezzo of the third movement Adagio, and the tragically beautiful Allegro finale, these fine musicians played the music of Johannes Brahms with such self-effacing personal commitment. The Corn Exchange was different today. Sun shone through the great south windows all morning, the heating was perfect, the seats were arranged with intelligence, that is on three and a quarter sides instead of four, so that no-one was unsighted by the piano lid, and the spotlights on the players seemed to be warmer in colour than usual; at least so it seemed when the female players sat down in sleeveless black dresses to reveal golden arms and shoulders.
Thank you, Sir. The Aquinas did the opposite. Much of it they played quietly. They relied on the beauty of their sound and their exquisite phrasing to bring out the passion of the music.
Is there anyone who still thinks Mendelssohn is a light-weight? By the end of the first movement it was clear what this trio are about.
Firstly, they play with extraordinary sweetness and delicacy. Secondly, they play as one, not just with impeccable intonation and perfect ensemble, but in the way they interpret the music: understated but not unfeeling, emotional but not showy. The pianist, Martin Cousin, has one of the softest pair of hands in the business. He was able to merge with the strings and not dominate them, making the Yamaha piano as expressive as the strings.
Perhaps it helped that it was a fairly ordinary grand piano and not the larger Steinway concert grand that most concert halls think they need to provide, even for chamber music.
Piano Trio in C major, Hob.XV:27 (Haydn, Joseph)
By this time the audience was totally won over, the applause at the end of the Mendelssohn being enough for the end of a concert for most ensembles. And at the end of the concert we got an encore, which is not routine after such big works. The Dvorak Trio No. What happens when an audience feels transported in the way we did this morning? It helps that they were a joy to look at, with youth and beauty on their side. The violinist, Ruth Rogers, remains poised and elegant, with only the odd frown or raising of her eyebrows, while Katherine Jenkinson, the cellist, reveals every emotion on her face, alive with joy then almost tearful as the music changes to anguish.
Something happens at a concert like this that is more than the sum of the parts. Those who stayed behind in the Dome foyer afterwards for a few minutes found there was yet another dimension to the Trio; they are also really nice young people who have children and who drink coca cola.