Doyle Piano Trio plays Turina, Beethoven and Schumann

Doyle Piano Trio plays Turina, Beethoven and Schumann

Program

Turina (1882-1949)

Circulo, Op.91

I Amanecer
II Mediodía
III Crepúsculo

Beethoven (1770-1827)

Piano Trio in E flat major, Op.1/1

I Allegro
II Adagio cantabile
III Scherzo- allegro assai
IV Finale- presto

- Intermission -

Schumann (1810-1856)

Piano Trio in F major, Op.80

I Sehr lebhaft
II Mit innigem Ausdruck - Lebhaft
III In mässiger Bewegung
IV Nicht zu rasch

Composed for piano trio, Spanish composer Turina’s Circulo exhibited strong scent of Spanish extroverted passionate character. Exotic harmonic language and vigorous rhythm are its typical features. Designed in cyclic form, the reappearance of the theme at the last movement depicts a scene of cozy sunlight pouring into the bedroom, which could be seen in today’s poster as well.

Beethoven’s first piano trio was officially his first published work. Filled with splashes of freshness, energy, hope and confidence, there are also lyrical phrases and succinct humorous motives. Compared to the complex and introspective late Beethoven, this piano trio is obviously composed with much more positive vibes.

It is not new that Schumann is mentally ill. On the same year he composed the Piano Trio in F major, his young son and composer Felix Mendelssohn had died, his mental health also started deteriorating. The two virtual characters Florestan and Eusebius represented two extreme emotions, are exposed throughout the piece. Sometimes gentle and sometimes crazily passionate – making a suffocating contrast. The whole piece has made use of every possibility of the ensemble of piano, violin and cello. The last movement concludes such a magnificent piano trio with an exciting fanfare

節目

圖裡納 (1882-1949)

圓盤幻想曲，作品編號91

I 黎明
II 中午
III 日暮

貝多芬 (1770-1827)

降E大調鋼琴三重奏，作品編號 1/1

I 快板
II 如歌的慢板
III 諧謔曲 非常快板
IV 終曲 急板

～中場休息～

舒曼 (1810-1856)

F大調鋼琴三重奏，作品編號80

I 非常活潑地
II 由衷的感情 — 活潑地
III 中等速度
IV 不太快

西班牙作曲家圖裡納(Turina)為鋼琴三重奏所作的圓盤幻想曲(Circulo) 富有濃厚西班牙特色的熱情奔放。除了在節奏上可見一班，異國風情的和聲也展現了不同的色彩。樂曲於終章，帶出起始樂章的主題，是為連篇曲式(cyclic form)的一大特色，這個首尾呼應，彷彿一束陽光照耀射入溫暖的睡房中，如同海報中展現舊日的美好時光。

貝多芬的第一首鋼琴三重奏，亦是他第一首出版的音樂作品。這首作品充滿青春活力、盼望和自信。除此之外亦有抒情悠揚的樂句和幽默短促的片段穿梭在樂曲之中。對比起貝多芬晚年複雜、充滿生命反思的作品，此曲明顯帶著年青積極的活力。

相信大家都知道，舒曼是一個精神病患者。在他構思此作品的同一年，他十多個月大的兒子和作曲家孟德爾遜相繼死亡，而舒曼本人的精神狀態亦日益惡化。兩位虛構的人物(Florestan 和Eusebius) ，代表兩個極端的情緒，穿梭在整首巨大的F大調三重奏內，時以溫柔、時以瘋狂，令人窒息。整首樂曲的設計和織體用盡了三樣樂器獨奏和合奏的所有可能性，色彩繽紛的喧鬧為樂曲寫下尾聲。