Belmont Camerata 4.24.23

Belmont University School of Music presents

Trio in G Major for piano, violin and violoncello HOB XV, 25 F.J. Haydn Andante (1732-1809)

Poco Adagio

Rondo all’Ongarese: Presto

Kris Elsberry**, piano

Elisabeth Small, violin

Keith Nicholas+, cello

Violin Sonata No. 3 Op. 108 in D minor Johannes Brahms Allegro (1833-1897)

Adagio

Un poco presto e con sentimento

Presto agitato

Elisabeth Small, violin

Alessandra Volpi+, piano

La Creation du Monde Darius Milhaud (1892-1974)

Carolyn Totaro and Christine Subratie*, flute

Rebecca Van de Ven, oboe

Dan Lochrie and Cassie Lee+, clarinet

Dong-Yun Shankle, bassoon

Tara Johnson, French horn

Pat Kunkee and Jacob Haymans+, trumpet

Jeff Phillips, trombone

Robert Marler, piano

Belmont Camerata Belmont University School of Music

Chris Norton, timpani

Todd London, percussion

Elisabeth Small and Veronica Joines, violin

Alex Graham, saxophone

Keith Nicholas+, cello

Tiffany Freeman, bass

Robert Gregg, conductor

*School of Music Student

**Faculty Emeritus

+Guest Performer

Program Notes

Trio in G Major, Hob XV: 25

Franz Josef Haydn was perhaps the single most important composer in the establishment of the classical chamber music genres and forms. He is best known for his more than eighty string quartets, which show his development of the form from the early rococo divertimento style to those of mature and grand late quartets. This massive body of works overshadows the other chamber works. While the mature quartets tend to conform to a standard form, Haydn shows much more variety and innovation in the other chamber genre. The piano trios are a good case in point. They sparkle with creativity, innovative forms, and an abundance of good humor.

The Trio in G Major illustrates these tendencies quite well. While it is often numbered as the first Piano Trio, it is a late work from Haydn’s maturity, (it seems that publishers liked to put the better works first in the book!). One of the most notable things about the work is that there is not a sonata form in any of its three movements, a rare occurrence Haydn’s music. The opening Andante is in Rondo Variation form with a beautiful song-like melody presented in various ways interspersed with other melodic episodes. The emancipation of the violin from the piano is just one sigh of maturity of the work. The second movement, a lovely ABA form, is remarkable for its key of E Major, a third relationship to the trio’s key of G. This innovative key scheme is one for which Beethoven would become known. The scintillating Rondo (in the Gypsy stile) is a perfect ending to the more sedate earlier movements. Scholars point out that this movement actually portrays a style of Hungarian folk music that was popular at the time.

Program notes by Richard Shadinger, School of Music Faculty Emeritus

Brahms Violin Sonata No. 3 in D minor, Op 108 illuminates Brahms’ masterful craftsmanship at its best. In four movements rather than the customary three, Brahms immediately draws us in with the violin’s simple ascending perfect fourth interwoven with the restlessness and urgency of the piano’s eighth notes. The movement beckons the listener to its final chord with intentionally lean musical language seamlessly connected to rich melodies and powerful episodes. The second movement, adagio opens with a 24-bar melody for the violin played on the G string, and the third movement, Un poco presto e con sentiments has been described as fairy-like for its lightness. The fiery Presto agitato concludes the sonata with unrelenting piano virtuosity. Written 1886-1888 in Thun, Switzerland, it is not a stretch of the imagination how this magnificent work may have been inspired by Alpine majesty.

Program notes by Elisabeth Small, School of Music Faculty

La Creation du Monde

The French composer Darius Milhaud (a member of Les Six) was fascinated by American jazz and credited the (American) Billy Arnold’s Novelty Jazz Band as having introduced him to jazz when he heard them during his visit to London in 1920. He was particularly drawn to the freedoms of jazz and its rhythms. “Their constant use of syncopation in the melody was done with such contrapuntal freedom as to create the impression of an almost chaotic improvisation, whereas in fact, it was something remarkably precise.” In 1922 he came to New York and listened to many genres of jazz, paid close attention to the ensembles, and wrote musical sketches.

This being the 100th anniversary of the composition, it seems appropriate that Camerata perform this important work.

The ballet has five parts...

1. Chaos before Creation: slow and mysterious, gradually growing in intensity. Listen for elements of polytonality and the soft closure.

2. Lifting darkness and creation of trees, plants, insects, birds and beasts: jazzy solos for flute, oboe, and horn. Life and the making of it is an exhilarating and delicate process.

3. Man and woman are created: increase of movement and excitement, exuberant.

4. The desire of man and woman: beautiful seduction music from clarinet.

5. The kiss: a beautiful conclusion, introduced quietly by oboe, a bit of excitement, followed by softly fluttering flutes with a tender goodbye from the saxophone.

Program notes by Robert Gregg, School of Music Faculty