Masterworks for Mother’s Day

Violin and Piano Sonata in G major, Op.78 “Regensonate”

by Johannes Brahms (1833-1897)

• Vivace ma non troppo
• Adagio
• Allegro molto moderato

Brahms wrote his Sonata in G major for Violin and Piano during the summers of 1878 and 1879 for his violinist friend, Joseph Joachim. In previous years, he had written at least four drafts of a violin sonata, but being ever the perfectionist, Brahms destroyed them all. He finally completed and let stand the G major Sonata, a work of extraordinary lyrical beauty; it has become one of his most beloved chamber works. The Sonata was nicknamed the Regensonate after Brahms’s own song Regenlied (Rain Song). The rainfall-like dotted rhythm from the song surfaces throughout the entire work, and is directly referenced in the third movement.

The lyrical Vivace ma non troppo is warm yet poignant and remarkably moving in its tender vulnerability. The solemn Adagio is potent and seems to evoke a lonely trek across a broad landscape. The mood shifts in the Allegro molto moderato. The piano provides a bed of insistent running notes while the violin’s melody soars above in a complex mix of sweet yearning and restlessness. The music winds down to tranquility and acceptance at last.

Piano Trio No.2, Op.70, No.2 in E Flat Major

by Ludwig van Beethoven (1770-1827)

• Poco sostenuto – Allegro ma non troppo
• Allegretto
• Allegretto ma non troppo
• Finale – Allegro

Beethoven wrote the Piano Trio Op 70, No 2 in 1808 during his stay at Countess Marie von Erdödy’s estate just outside of Vienna, and dedicated it to her in appreciation of her hospitality. It was premiered later that year at the estate. The work embodies classicism: lyrical, exuberant and balanced – decidedly Haydnesque! It’s been speculated that Beethoven wrote in that style in homage to Haydn, his old teacher. Beethoven had fallen out with Haydn, but they reconciled at a performance of Haydn’s Creation in March of 1808, just before Beethoven embarked on this trio.

The first movement begins with a slow, meandering introduction that leads into the Allegro ma non troppo with its congenial music and delightful interaction among the instruments. The slow music of the opening returns at the end, beautifully framing the movement. The Allegretto is a set of double variations that alternate two linked themes: The first theme in C major is playful and light, oscillating with a rustic Hungarian-flavoured second theme in C minor. The Allegretto ma non troppo is gracious and offers a dancelike character with a contrasting middle section. In the Finale, we encounter Beethoven’s more familiar voice with music that is exhilarating and dramatic, at times heroic. We hear the working out of his ideas in adventurous and unexpected ways, with a triumphal conclusion.

Piano Trio No.1, Op.32 in D Minor

by Anton Arensky (1861-1906)

• Allegro moderato
• Scherzo – Allegro molto
• Elegia – Adagio
• Finale – Allegro non troppo

Anton Arensky was a Russian composer, pianist and conductor. He was close to Tchaikovsky, who became an important musical influence. Arensky was particularly struck by Tchaikovsky’s piano trio of 1882, which was written as a memorial. In 1894, Arensky both wrote and published his own Piano Trio No 1 as a memorial for his friend, the renowned cellist Karl Davidoff. The cello plays a prominent role in this work.

The Allegro moderato opens gently with a warm, almost wistful first theme meant as a portrait of Davidoff. The entire movement conveys an autumnal mood. The light-hearted Scherzo features an impish stuttering figure in the violin amid flurries of piano notes, contrasting a central carnival-like waltz. The Elegia is the heartfelt centerpiece of the entire work. The cello sings a sad, lingering theme soon joined by the violin. The central dreamlike section seems to recall happier memories. The Finale explodes with turbulent energy. Themes from both the first and third movements are recollected, beautifully bringing the work full circle. Towards the end, strains from the Elegia dissolve into a final gathering of tumultuous energy for a celebratory finish.