Eduardo ALONSO-CRESPO: Piano Trio op. 30

Eduardo ALONSO-CRESPO

PIANO TRIO op. 30 (revised version)

Score © 2013 Eduardo Alonso-Crespo - All Rights Reserved

2 Argentine-born composer and conductor Eduardo Alonso-Crespo was trained at the School of Musical Arts of the National University of Tucumán in Argentina, where he also received his Civil Engineer degree. He later came to the United States through a Fulbright Grant and obtained his Master degree in Conducting at Carnegie Mellon University, after studying with maestros Lukas Foss, Leonardo Balada and Samuel Jones. Further training included seminars and workshops with maestros Max Rudolf, Gunther Schuller, Julio Lazarte and Henry Holt.

His works have been performed in the United States, Canada, Mexico, Venezuela, Colombia, Peru, Chile, Brazil, Paraguay, Bolivia, Argentina, China, Taiwan, Japan, Indonesia, Israel, the United Kingdom, the Netherlands, Germany, Finland, Poland, Ukraine, Portugal, Spain, Italy and France, and at prestigious locations including the Teatro Colón in Buenos Aires, the Carnegie Recital Hall in New York, the Madeleine Church in Paris, the De Doelen Grand Hall in Rotterdam, the Teatro Teresa Carreño in Caracas and the Queluz Royal Palace in Lisbon.

His music has been featured in concerts by the Buenos Aires Philharmonic and the National Symphony Orchestras of Argentina,Colombia and Peru, the Simón Bolívar Symphony Orchestra, the Pittsburgh Symphony Nuance Series, the SudetsPhilarmonie of Poland, the OrquestaMetropolitana of Lisbon in Portugal, the OrchestreSinfonietta de Paris in France, the Mikkeli City Orchestra in Finland, the Israel Chamber Orchestra, the OrquestaClásica of Santiago and the OrquestaSinfónica Universidad de Concepción in Chile, the Falcón, Mérida, Nueva Esparta and Táchira Symphony Orchestrasin Venezuela, the Orquestra do Limiar and the OrquestraFilarmônica do Spírito Santo in Brazil,the OrquestraSinfònicaJuliàCarbonell in Spain, Camerata de México, CamerataLysy, CamerataLazarte, the Berliner PhilharmonikerOktet, the Carnegie Mellon Contemporary Ensemble, the Carnegie Mellon Wind Ensemble, the Strings Festival Orchestra in Colorado, CuartetoLatinoamericano, American Composers Orchestra String Quartet, CuartetoClásicoArgentino, Saint Olaf Choir in the U.S.A., KammerchorEttlingenin Germany, Huygens Vocal Ensemble in the Netherlands, Batavia Madrigal Singers in Indonesia, the World Youth Choir, thrNational Youth Choir of Argentina, Ars Nova Choir of Argentina, the Orquesta de Cámara Mayo, the Orquesta Municipal de Córdoba, the Orquesta de Cámara Municipal de Rosario, the Córdoba Symphonic Band, the Argentine National Youth Orchestra and the Tucumán, Rosario, San Juan, Mendoza, Salta, Entre Ríos and Córdoba Symphony Orchestras in Argentina, among many others.

His compositions have been awarded more than a dozen national and international awards from Argentine, Spanish and Italian institutions. The list includes the Alejandro Shaw First Prize from the National Academy of Fine Arts of Argentina, together with the two Honorary Mentions especially created by the jury on that occasion (1981), the Second Prize from the Fundación San Telmo Composers Competition (1982), the First Prize of the First Competition of the Promúsica Foundation and the Argentine Ministry of Foreign Affairs (1983), the Second Composition Prize from the National University of La Plata Composers Competition (1983), the First and Second Prizes - simultaneously - in the Luis Gianneo Composers Competition (1983), the Cristóbal Colón International Prize for Symphonic Music (1986), the Third Prize in the Viotti-Valsesia International Competition (1986), the Honorary Mention from the Secretary of Culture of Argentina (1987), the Symphonic Commission Award from the National Endowment for the Arts of Argentina (1987), the Iris Marga Award for Best Music for Theatre (1994) and the First Composition Prize of the Bahía Blanca Symphony Orchestra (1994). Among other distinctions he was honored as Musician of the Year (Salta, Argentina, 1990) and Distinguished Citizen (Tucumán, Argentina, 1998).

Besides composing chamber and symphonic music, he has produced an important number of works for the stage including the ballet Medea, the incidental music for Macbeth - winner of the 1994 Iris Marga Award in Argentina for best original score for drama - and the operas Putzi (1986-2004), based on an anecdote from Franz Liszt´s life, and Juana, la loca (1991), both with régie and choreography by Claudio Aprile.

His works are recorded by the Cincinnati Chamber Orchestra (Overtures and Dances from operas by Alonso-Crespo) for Ocean Records, the CamerataLazarte (Macbeth) for JL Records and the Carnegie Mellon Wind Ensemble (Epic Dances) for CMRL, all these conducted by the composer and by the Ars Nova Choir (Pachamama), Andrea Merenzon and members of the Buenos Aires Philharmonic conducted by Alberto Merenzonpor the Radio Clásica Label, the Cordilleras Trio (Piano Trio) for Meridian and Eleanor Weingartner and the Camerata de las Américas conducted by José Luis Castillo (Clarinet Concerto) for Urtext.

Eduardo Alonso-Crespo served seven years as Composer in Residence and Principal Guest Conductor of the Salta Symphony, twelve years as Music Director of the Tucumán Symphony in Argentina, and twenty one years in the faculty of the School of Music at Carnegie Mellon University in the United States of America.

For more information, please visit: www.eduardoalonsocrespo.net or contact: eduardoalonsocrespo@hotmail.com

3

Eduardo ALONSO-CRESPO

PIANO TRIO op. 30 for violin, cello and piano

Commissioned by the Trío Cordilleras, College of Music, University of Colorado, U.S.A.

Duration: 11 ½ minutes

4

Program Notes: The Piano Trio op. 30 by Argentine composer Eduardo Alonso-Crespo is the result of a commission by the Trío Cordilleras from the University of Colorado, U.S.A. and was written in 2013. Inspired by the practice of this prestigious ensemble of including compositions influenced by Argentine traditional music in its repertoire, the composer wrote a work with a clear South-American profile, particularly by using tango rhythmic cells and melodic turns. Alonso-Crespo had already experienced this line of work in 2005 through a composition he wrote under a commission by Andrés Cárdenes, former concert-master of the Pittsburgh Symphony, the violin concerto entitled Concierto en tiempo de tango op. 21.

The Piano Trio has a traditional structure in disguise. Although written as a one movement piece, it is actually a work in four movements with an introduction, following the practice of classical trios. It opens with a slow prologue that bears the indication Adagio mesto, a sad and pensive opening for a soon to come energetic piece of music. In the midst of a somber atmosphere - in which piano and violin encompass both the low and high extremes of the register - the cello unveils a melody marked espressivo e lamentoso. This melody is made of the inversion of the main theme of the work, thus establishing one major trait of the trio: all movements are derived of the same melodic material, an aspect that provides enormous unity to the work.

After a crescendo in the violin the prologue ends and the Allegro giusto is introduced.

Its active and vigorous writing relates to the allegro sonata of the traditional trio, with two clear subjects, a brief development and no recapitulation. It is followed by an Andante that features a very expressive and lyrical solo for the cello, one of the highlights of the piece. It corresponds to the slow second movement of the classical model and it is followed without interruption by an Allegro scherzando. Written in triple meter and marked leggiero, it provides a fresh and uplifting moment to the piece, a remembrance of the time-honored scherzi. This short section goes directly into the Finale, made of two sections, an Andante the recapitulation of the second subject of the allegro sonata - and an Allegro - the restatement of the first subject with a broader gesture . Towards the end the Finale takes the shape of a quasi chorale that leads the work to the final coda. Once the piece seems to be at its completion, a last minute intervention of the piano presents us with a last twist that ends the work with an unexpected picardy third, providing an extra bit of charm to a work already full of inventiveness.

The Piano Trio op. 30 is scored for violin, cello and piano, and lasts approximately eleven and a half minutes.

Prof. Claudio Aprile National University of Tucumán, Argentina

Piano Trio op. 30

Score

Eduardo Alonso-Crespo

Adagio mesto 

 

Cello

Piano

  

                     

   

 3

  6   

         

6 Vln.

Vlc.

Pno.

Vln.

Vlc.

Pno.

 

      

    



 

 



  

 

       9                 

   

 

 

3

   9          

     

1

2

Violin

5

 



  



  

        

   



 

 



2 

 

           

       

  

© 2013 Eduardo Alonso-Crespo - All Rights Reserved







    





      

   

  



     



                      

         

  

   





   

3



            espress. e lamentoso                     

        

 





 

 

 

6

13 Vln.

Vlc.



Piano Trio op. 30

 



Vlc.

Pno.

Vln.

Vlc.

Pno.

    

    17

Vln.

  

 

     

  



    17      

 20  

 

        

  

 



 

     

  



 



     

      

  

   

     

          

  

              

        

     

  

  

     



 

       



    

    

  

 

     

 



 



   

              



  

        



 

 

 

    

 

   



   





    

  



        



               20            

 



          13

Pno.



  

     

                        

        

Piano Trio op. 30 I C.

  2

23 Vln.

Vlc.

   



   

23

Pno.



26 Vln.

Vlc.



Vlc.

 

I C.

 2



   



                     

  

         









  





 



       

     

 

     

2 1



    

  







  

       

 

  

                              



 

    

  

 

                             

 

  

 





 

            

          

 

  

  

 

  

             

  

    

 

   

3

2

      

    

    

     1

          

     

  

I C.

II C.

2

dolce

 



1

        

29

Pno.

2

3

          

29 Vln.

1

  

26

Pno.

      II C.

7

 

  

      

 

   

         

   

     



 

        

  

 



 

8

Piano Trio op. 30

Allegro giusto (‰ precedente =Œ)

Vln.

Vlc.

Pno.

Vln.

Vlc.

Pno.

    31                                                  31                                          

Vlc.



 

 

  

 

       

    

               

39

Pno.





       

             

4                               35                                                           35                   

39 Vln.

          

      

  

 

 

 

 

      

          

 

     



 

          

 

 

 

 

1                

     

     

     





  

           

                                      

                                     



 





      

  

Piano Trio op. 30

     

42 Vln.

Vlc.

Pno.

Vlc.







  

 



    

  

48 Vln.

Vlc.





48

Pno.

   

                                   

45

Pno.





                                                       Solo     42                                                                45

Vln.

9



    

   



             



                                           

   



  



 



 

 

 





  

 



         

     

                               



 



2 2 1 1                



 



10

51 Vln.

Vlc.



                         

    

  

           



        



55 Vln.

Vlc.

      

55

Pno.

 

Vlc.

 

                                     

                                

        

 

 

 

                      3                         

      





                 

                                      

                  

                                   

58

Pno.

           

                

58 Vln.

                                     

                                                               

51

Pno.

Piano Trio op. 30

          3

                             

3

3

   

      

         3



3





3

    3

Piano Trio op. 30

                 

61 Vln.

3

Vlc.

3

3

        3  61       

       3    

       3    

      3    

  

 

 

 

3

Pno.

3

3

3

3

                          

 

   

 

 

 

3 3 3 3 3subito 3                                 subito 3                                    3 3 3 subito 3

 

                    3   cantabile                          64                        3                  

 

Vlc.

Pno.

68 Vln.

Vlc.





    

68

Pno.





              cantabile                               





 

 

 

64 Vln.

11

 

 



      





   

    



      subito        cantabile 



  

                        

 

 

      

 



       



 

  

     



 cantabile

         

 





 

  

          subito         

      

 

  

12

Piano Trio op. 30

72 Vln.

Vlc.

  



 

72

Pno.



77 Vln.

Vlc.



               cantabile               marcato                    

  

   



 



             

77

Pno.

82 Vln.

Vlc.



 2 3

              

82

Pno.



 

 







  2

  

 

 

 



  

         





 





  

             

          

 

        

 





  



     

  

      

  

       1



  

   

  3

  

 

     

  

 

 

 

 

  



   

            

   



   





  

 3

 



  

 

1

 

 2





 



3

 

 

 

2    



1

3

 

 

  

II C.

1



                           









 

  



 

                

 

 

Piano Trio op. 30

87 Vln.

Vlc.

Pno.



Vlc.

 



   

   

   

 

  

 



  



 

Vlc.

 

   

 





  

     





   



 





 



                                                              





      

m.d.

95

Pno.



                                                                

95 Vln.



  





91

Pno.



  87                                                     91

Vln.

 

13

m.s.



    

  



 

       

 



     

 



 

 

                         

    

     



 

          

   

14

Piano Trio op. 30



101 Vln.

Vlc.



    101

Pno.





     pizz.

Vlc.

   

Vln.

Vlc.



       



                      

        

 

 



    













                                



         

    



                              

         













          



        

arco

          arco        



           



                                   

      

108

 

     



              

108

Pno.





                          

   

 

            pizz.

Solo

    

105

Pno.



  

105 Vln.



 





 

 

 

 

        

                                          



 

 

Piano Trio op. 30

               

111 Vln.

Vlc.

111

Pno.

   

Vlc.

 

Vlc.

Pno.



 

          

                       

        114                                        

   

          

                         

    

                                        

 

 

 

 

 

 

                                     

                            

           

      

 

(‰=‰)

          

   

                 



(‰=‰)

     

                 

   

  

          

                                        117                                  117

Vln.

    

(‰=‰)

Vln.

114

Pno.

   

   

 

       

15

      

       

        

                      

                        

       

16

Piano Trio op. 30

Vln.

Vlc.

Pno.

                                       120                           (Œ =Œ)

123 Vln.

Vlc.



Pno.





        

   



espress.



130

Vlc.

  





 

       

 



 



 





  

     





 

  





    





espress.







 

 





    

  



 



 

   





 

 



 





    

     



 

    

 

 

 (non espress.)       

            

 

   

 





   



 







   

 

 





 

  



ord.

 



 

pizz.

   

 



pizz.

                    





espress.



130

Pno.



      arco

ord.

Vln.

  

Andante (l´istesso tempo) 

 

123

 

arco

(‰=‰) 120

 

   

  

    



Piano Trio op. 30

  

 

137 Vln.

Vlc.



   

Pno.



 

 

Vlc.

 

     

  

   3             

       

Vlc.



 



 

   



 

 

Pno.



    

 

 

 

  

 





  Solo

    

 

   

 

        



     

  

  

      

 

 



          

 



 



  

  

poco rit.





  

      



        



 

         





         

       

a tempo

151



    



rit.



    

            

 

  



  

      

      

 

151 Vln.

     

 

     

 

   144

Pno.

3

  

144 Vln.



 



     

    

137

 



17





        

 

a tempo



         

   

  





  



18

Piano Trio op. 30

                                         158                                         poco accel.

158 Vln.

Vlc.

Pno.

         

165 Vln.

Vlc.

171 Vln.

Vlc.





   

3

3

    





   

   

   

   

      3

3

       

3

3

  3

3





 





 

      

 3

 







           3       3



 

a tempo ()

  rit.

    3  

      3

3

3



    

 







             

3

  

   3  3



      



  

3

 



    3  3    

171

Pno.

 

     3      

165

Pno.



Più mosso      





   

    



 



3

3

  



 3

 

3

3

  

       3  

3

Piano Trio op. 30 177 molto rit.

Vln.

Vlc.

    

   

 

 



177

Pno.



 3

 

183 Vln.

Vlc.

 

 





3

 

Vlc.

         3      

 

 







 

  



 

   

  

 

 

  



(Œ =Œ)

 

  

 

    

Solo



arco

  

     

 



   

   

leggiero

          

      





                   

         

                       





pizz.

 

    

Allegro scherzando 



   

 

rit.

                          

   





3

   

188

Pno.



    

188 Vln.



 





  

          

a tempo ()

    

                 183

Pno.



19

  

           

 



        

                                                    

 

 

20

Piano Trio op. 30

192 Vln.

Vlc.





  

   



      

 

   

                 leggiero     

                                                                         

        subito                 leggiero          

192

Pno.

                                   subito

196 Vln.

Vlc.



                            

196

Pno.

                    

200 Vln.

Vlc.

200

Pno.

        

   

              subito                                             

  

          



  

     

 

                                   subito

  

   

                

    

      

                                           

                               

    

 



                  

          

  

   

          

   

             

Piano Trio op. 30

                          

204 Vln.

Vlc.

                                       

204

Pno.





 

           

208 Vln.

Vlc.

Pno.

      

               

      

Vlc.

                

             

                              

212

Pno.

  

                                                           



             

           

 208                                 212

Vln.



          

  

   

21

           

         

           





            

                                  

 

          

            

    

   

                                                  

             

 

   

                             

                                                                      

 

22

Piano Trio op. 30

                                            216                  216

Vln.

Vlc.

Pno.

Vln.

Vlc.

     

Pno.



  



  

                  

Vlc.











 

     



 

    









  

 

                  



 

         

     





                 



                                             

225

Pno.



3                                                



225 Vln.

                           

                                   

    

            



      

1           

 221     

221



             





        



     





          



                                     

 

Piano Trio op. 30

Vln.

Vlc.



                      

230

Pno.

      

          230                    

  

 

233 Vln.

Vlc.

   

233

Pno.

Vlc.



 

       

4

III C.

            

   

     

   



2

           



cresc. molto

      





  

  

 

     

  

 

 





 

  



  



   



     

4

                              

 

               

                  

  

 



1       2           

                                                 

                

238

Pno.

       

        

238 Vln.



     

            

Andante (l´istesso tempo)  4

(‰=‰)

23





 

 



    



       

  

     







  

   

     

                                                       

 

24

243 Vln.

Vlc.





248 Vln.

Vlc.

Pno.



Vlc.

 







 



 





 



 

 



   





 

        

  

                                                                     









 



 

    

   

 

                  

253

Pno.



 

 







 

 

               248                                                                                                     

253 Vln.



              

243

Pno.

Piano Trio op. 30

                  

 



   

 

 

                            

  

 

  

  

    

 

     



                                                           

Piano Trio op. 30

  

257 Vln.

Vlc.

 







       cantabile

                               

257

Pno.

 



          

25

              cantabile                        

3

3



  

  

 

                   

tempo giusto, senza accel.

Vln.

Vlc.

Pno.

Vln.

Vlc.

Pno.

           

Allegro (l´istesso tempo) 

(Œ =Œ)                                                   267                                          

267



   



       263                                        3 3 3  ritmo molto preciso!                             263                                      

                      



      

         

3

3

3



     



  

  

                                                

26

271 Vln.

Vlc.

Pno.



Vlc.

Pno.



     

                                                                                     

     



    

    271                                 

275 Vln.

Piano Trio op. 30





             

                     

Vln.

Vlc.

279

Pno.







        



 

                         

                                                       

                                        

              



        



                 275                                                    279

                            

Solo

       

 

 

     

         

                                      

                                                          

Piano Trio op. 30

27

                                                                                  282                                                         282

Vln.

Vlc.

Pno.

      

285 Vln.

Vlc.

     

285

Pno.

                      



Vlc.



                               

288



Pno.

     



                  

 

288 Vln.

                                   





 

        

         



     

         

      

 

    

       

 

       



       

                                                      

 

                       

 

 

 

  

           

                    

               

28

Piano Trio op. 30

                   Solo 291                  

  

291 Vln.

Vlc.

Pno.

295 Vln.

Vlc.

Pno.



   

    

  

Vlc.

             

300

Pno.

 

     

 

   



  



  

  

 



  

     

       

 



 

    

 

  

3

     



         

    

 

   

   

  

   

3

 

   

 3

                

     

    

 



     

    

3

                    

    

3

    3

   3

3



                          

      

   

 

           

  



 

    295                                                                      

300 Vln.

  



3





                  

   

3               3 3

 

     

   

3

 

     

       

  

3

   3

3

Piano Trio op. 30

        

304 Vln.

Vlc.

         304



Pno.

Vln.

Vlc.





  

 

     







    

 

 

     







       

 

3  3  3            

 307                  

307

Pno.



3

     3              3   

 



      

 

 

          

       3  3       

Vlc.

3

3



  

           

Pno.

 

               

 

3

 

3

 3

 

                 3

         

                       

 3 3          3  

3                             3                            Solo 3 3                         3               

 sim.  3                         3   3  3 3   3       1                          

310



   

      

3

3

3

310 Vln.

29

   

3

3

     

                       

30

Piano Trio op. 30

                                  3 313 3                  3            313

Vln.

Vlc.

Pno.

                 

316 Vln.

Vlc.



         



  



Vlc.



 

   319

Pno.

3



  



  

 

 

 

             

                 

           

           



          

     

  



 

   

3      



                



                         

   



     



 

 



    

    

     

              3       3

3

                                               

319 Vln.



 

                   



316

Pno.

            

                                               3

3



 

 



             

sul tasto





 

   

   

