The Trio for horn, violin, and piano is a chamber music work by the Australian composer Don Banks. It was composed in 1962 and premiered the same year at the Edinburgh Festival. A performance takes about 15 minutes.
The Horn Trio was commissioned by the Edinburgh Festival, and was written especially for hornist Barry Tuckwell, violinist Brenton Langbein, and pianist Maureen Jones, in part because they were all Australians, like the composer.Tuckwell's virtuosity was particularly important in stimulating the conception of this trio, as well as the Horn Concerto that Banks composed for Tuckwell three years later.
The trio is in three movements:
There is some disagreement concerning the compositional techniques employed. While Banks most often employed twelve-tone serial techniques in his concert music, one writer contends that the trio is an exception,while another describes it as atonal as well as serial.
Whatever the technical basis, the work is economically built from a small group of basic ideas, with an emphasis on the descending semitone and a perfect fourth.
After a slow introduction, the first movement falls into five main sections: a lyrical first section, a passage of fluctuating tempos featuring muted horn and sul ponticello violin, a slow section based on the unifying falling semitone, a horn cadenza, and a reprise of the first main section.
The second movement is slow and lyrical, in four sections defined in part by different pairings of the instruments. It opens with a long, flowing idea in the horn, accompanied by the piano. This is followed by a duet for violin and piano, then a con fantasia cadenza for horn and violin. In the final section, all three instruments sound together at last.
The finale is light in mood, in 6/8 time and marked scherzando, but in form is a rondo with a coda. The episodes develop the slow material from the third section of the first movement.The piano in this movement is marked by many bars of repeated quavers, and functions similarly to the rhythm section of a jazz ensemble.
In music, a cadenza is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing virtuosic display. During this time the accompaniment will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by a fermata in all parts. A cadenza will usually occur over the final or penultimate note in a piece, the lead-in or over the final or penultimate note in an important subsection of a piece. It can also be found before a final coda or ritornello.
The Violin Concerto in D minor, Op. 47, was written by Jean Sibelius in 1904, revised in 1905. It is his only concerto. It is symphonic in scope, with the solo violin and all sections of the orchestra being equal voices. An extended cadenza for the soloist takes on the role of the development section in the first movement.
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Violin Concerto No. 2 in D minor, Op. 22, by the Polish violin virtuoso, Henryk Wieniawski, may have been started in 1856, but the first performance did not take place until November 27, 1862, when he played it in St. Petersburg with Anton Rubinstein conducting. It was published in 1879, inscribed to his dear friend Pablo de Sarasate.
Barry Emmanuel Tuckwell, was an Australian French horn player who spent most of his professional life in the United Kingdom and the United States. He is generally considered to have been one of the world's leading horn players.
Ralph Vaughan Williams's Symphony No. 3, published as Pastoral Symphony and not numbered until later, was completed in 1922. Vaughan Williams's initial inspiration to write this symphony came during World War I after hearing a bugler practising and accidentally playing an interval of a seventh instead of an octave; this ultimately led to the trumpet cadenza in the second movement.
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Antonín Dvořák's Piano Quintet No. 2 in A major, Op. 81, B. 155, is a quintet for piano, 2 violins, viola, and cello. It was composed between August 18 and October 8, 1887, and was premiered in Prague on January 6, 1888. The quintet is acknowledged as one of the masterpieces in the form, along with those of Schumann, Brahms and Shostakovich.
Piano Trio No. 1 in D minor, Op. 32, for violin, cello and piano is a Romantic chamber composition by the Russian composer Anton Arensky. It was written in 1894 and is in four movements:
The Piano Quartet No. 1 in G minor, Op. 25, was composed by Johannes Brahms between 1856 and 1861. It was premiered in 1861 in Hamburg, with Clara Schumann at the piano. It was also played in Vienna on 16 November 1862, with Brahms himself at the piano supported by members of the Hellmesberger Quartet. Like most piano quartets, it is scored for piano, violin, viola and cello.
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Written in 1846, the Piano Trio in G minor, opus 17 by Clara Schumann was her only piano trio and was composed during her stay in Dresden 1845-1846. During the development of the Trio, she was going through hardships in life. Her husband Robert Schumann was extremely ill. This trio was completed during the summer of 1846 when they traveled to Norderney in attempts to improve Robert's health conditions. While in Norderney, Clara suffered from miscarriage. A year after the composition of her piano trio, Robert composed his first piano trio, op.63. It is seen that Clara's trio has had great influences on Robert's trio as they both share many interesting similarities. Their works were frequently paired at concerts.
The Trio for horn, violin, and piano, Op. 44, is a chamber music work by the English composer Lennox Berkeley. It was composed in the early 1950s and was premiered in March 1954 in London. A performance takes about 15 minutes.
The Violin Sonata No. 2 in E♭ major, Op. 102, was written by Camille Saint-Saëns from February to March 1896, and premiered on 2 June 1896 in Paris.
The Piano Quartet in B♭ major, Op. 41, also known as the Piano Quartet No. 2, was written by Camille Saint-Saëns in February 1875. Dedicated to Jules Foucault, it was premiered on 6 March 1875 in Paris. It has been called one of Saint-Saëns' neglected masterpieces and is in the core repertoire of the piano quartet.