April 6, 2017

Navarro Trio Wraps Up 25th Season With “Dumky” Trio

The Navarro Trio closes its 25th season as resident chamber music artists at Sonoma State with works by Beethoven, Taneyev and Dvořák on April 23 at 2 p.m. in Schroeder Hall. Joining Navarro’s co-founders, pianist Marilyn Thompson and cellist Jill Brindel, will be violinist Victor Romasevich and guest violist Wayne Roden, both members of the San Francisco Symphony.

Program

Beethoven (1770-1827): Piano Quartet in C Major, Wo0 36, No. 3 for piano, violin, viola and cello 
Taneyev (1856-1915): String Trio in D Major for violin, viola and cello
Dvořák (1841-1904): Trio in E minor, Op. 90 ("Dumky") for piano, violin and cello

Wayne Roden

The program features Beethoven’s little-known quartet in C for piano, violin, viola and cello, written when the composer was just 15 and modeled on a piano sonata by Mozart.

The String Trio by Taneyev, composed in 1880, received praise by the great Tchaikovsky who said, "I have examined at the entire work and am amazed at the composer's skill."

The 2 p.m. concert closes with one of Dvořák’s most beloved works for piano, violin and cello, the “Dumky” Trio.

General admission tickets are $8, including parking. Tickets are free to SSU students with ID. For more information, call the music office at 707-664-2324.

Tickets

 

PROGRAM NOTES
Beethoven – Piano Quartet in C
The three piano quartets of WoO 36, written when the composer was 15, are among the most substantial of Beethoven's earliest compositions. They are so early, in fact, that the autograph score calls for "clavecin" instead of piano. The same manuscript gives "basso" instead of cello, with the pieces ordered C major, E-flat major, and D major. The pieces were not printed until 1828 in Vienna, in the order E-flat, D, and C. Material from the C major Trio was subsequently used in the Piano Sonatas, Op. 2, Nos. 1 and 3. These are the only works Beethoven composed for this ensemble, which he abandoned for the piano trio after moving to Vienna.

When he was a boy, Beethoven was musically influenced primarily by Christian Gottlob Neefe (1748-98), a composer and one of Beethoven's first music teachers, Abbé Franz Sterkel (1750-1817), one of the foremost pianists in Europe, and Mozart. Of these influences, Neefe's was the most immediate and Mozart's the most profound. Each of the three quartets of WoO 36 draws on a specific violin sonata by Mozart, from the set published in 1781. The first of Beethoven's quartets is modeled on Mozart's K. 379/373a, the second on K. 380/374f, and the third on K. 296. All three quartets of WoO 36 are in three movements.

—John Palmer, SSU Musicologist


Taneyev – String Trio in D
Sergei Taneyev (1856-1915) is one of the greatest Russian composers from the last half of the 19th and early 20th centuries and probably, from this group, the one whose music is the least known in the West. Taneyev came from an aristocratic family that patronized the arts and when Sergei's talent became apparent, his father sent him to the newly opened Moscow Conservatory at the age of 10. His main teachers there were Nicolai Rubinstein for piano and Tchaikovsky for composition.

After finishing the String Trio in D major in 1880, Taneyev sent the score to his friend and former teacher Tchaikovsky for criticism. On  the last page of the score, Tchaikovsky wrote, "I have examined at the entire work and am amazed at the composer's skill." The work was performed shortly thereafter but for some reason was never published. For the next 76 years, the manuscript languished in the archives of the Tchaikovsky museum in Klim outside of Moscow. Finally in 1956 on the occasion of the 100th anniversary of Taneyev's birth, the trio was published.

—Edition Silvertrust


Dvořák – “Dumky” Trio
Dvořák completed the trio on February 12, 1891. It premiered in Prague on April 11, 1891, with violinist Ferdinand Lachner, cellist Hanuš Wihan, and Dvořák himself on piano. The same evening, Prague's Charles University awarded the composer an honorary doctorate. The work was so well received that Dvořák performed it on his forty-concert farewell tour throughout Moravia and Bohemia, just before he left for the United States to head the National Conservatory of Music of America in New York City.

The form of the piece is structurally simple but emotionally complicated, being an uninhibited Bohemian lament. Considered essentially formless, at least by classical standards, it is more like a six movement dark fantasia—completely original and successful, a benchmark piece for the composer. Being completely free of the rigors of sonata form gave Dvořák license to take the movements to some dizzying, heavy, places, able to be both brooding and yet somehow, through it all, a little lighthearted.

—Daniel Felsenfeld (CD liner notes)

 

 

 

Navarro Trio — Faculty Trio in Residence 26th Season
October 22, 2017, 2 p.m. Schroeder Hall
February 18, 2018, 2 p.m. Schroeder Hall
April 8, 2018, 2 p.m. Schroeder Hall

 

 

 

Media Contact

Ruth Wilson
Lecturer in Horn
Music Department Publicity
Sonoma State University
1801 East Cotati Avenue
Rohnert Park, CA 94928

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