CPE Bach
Trio Sonata in G Major for flute, violin, cello & piano, Wq. 144, H.568



Johann Sebastian (JS) Bach, perhaps the most celebrated baroque composer ever, begat a remarkable brood. By his two wives, he had 20 children, ten (six sons and four daughters) of whom survived into adulthood. Four of those six sons became composers in their own right. Wilhelm Friedemann (WF) Bach, the “Dresden Bach,” was the eldest and largely continued composing in a style similar to his father. Johann Christoph Friedrich (JCF) Bach, JS Bach's ninth son, is the least known for composition, primarily writing pleasant music for the Bückeburg Court, hence his “Bückeburg Bach” appellation. Johann Christian (JC) Bach, known as the “London” or “English” Bach, the youngest son (and 18th child) was the most inventive stylistically, whose music is second only to CPE Bach's and is noted for his friendship with and influence upon Mozart. (Then there is PDQ Bach, described as the 21st of JS Bach's 20 children, whose previously unknown works have been unleashed upon an unsuspecting public by the musicologist Peter Schickele.) Carl Philipp Emanuel (CPE) Bach was the fifth child and second surviving son of JS Bach, was born in Weimar (in today's Germany) on March 8th, 1714. He is known for his synthesis of the Baroque style and the emerging Classical style and was the most prolific of the Bach sons. He received his musical training from his father. His formal schooling was in the law: he obtained his degree in 1738, although he never practiced. Instead, he followed his real passion, music. He went to Berlin (hence his “Berlin” Bach moniker), where he was well-received and celebrated. He composed in numerous genres and wrote a definitive treatise on keyboard practice that Beethoven praised and which is still relevant today. Although his father's influence would always be paramount, he now absorbed some influences from Georg Philipp Telemann (who was his godfather). In 1768 he relocated to Hamburg (thus becoming the “Hamburg” Bach) where he succeeded Telemann as Kapellmeister. He continued to compose, especially choral and religious works, dying on December 14th, 1788.



The Trio Sonata in G major, Wq. 144, H.568, for flute, violin, and
​ continuo was written in 1731, when CPE was 16-17 and was revised in 1747. (A continuo, or basso continuo, part is a bass line with chords accompanying the melody instruments, usually played by a keyboard instrument and/or a lower string instrument. (In this case, cello and piano.) Strangely, although most of CPE Bach's works are in the public domain, the parts for this trio had to be purchased. In the first movement, Adagio sees slow, languorous, somewhat lugubrious flute and violin themes followed by the lively, bright, and cheerful Allegro second movement. The Presto third movement extends and expands upon the Allegro and allows the cello and piano greater prominence


Back

Ernest Bloch
From Jewish Life for cello and piano



The Swiss-born American composer Ernest Bloch was born to Jewish parents on July 24th, 1880, in Geneva, Switzerland, and died on July 15th, 1959, in Portland, Oregon. He is recognized for his deeply emotive and spiritually charged compositions, often drawing inspiration from Jewish themes and literature. Bloch's musical journey began early; he showed exceptional talent in violin and composition as a child: his family enrolled him in the Zurich Conservatory at the age of 17. He later studied music at eminent conservatories and schools in Brussels, Frankfurt, and Paris, where he honed his skills under the guidance of renowned composers and teachers, notably the violinist Eugène Ysaÿe. During his formative years, he experimented with various musical styles, seeking a unique voice that combined his classical training with his cultural and emotional influences. In 1916, Bloch moved to the United States, becoming a citizen in 1924. His compositions gained widespread recognition and acclaim in America. He held teaching positions at various institutions, including the Mannes School of Music, the Cleveland Institute of Music, and the University of California, Berkeley. Bloch's music is characterized by its rich harmonies, expressive melodies, and intricate use of orchestration. His works often explore themes of spirituality, human emotions, and Jewish identity. Some of his most notable compositions include the "Schelomo" for cello and orchestra, the "Hebrew Rhapsody" for violin and orchestra, and the "Sacred Service" (Avodath Hakodesh), a monumental choral work for baritone, chorus, and orchestra and the rarely programmed “America, a Musical Rhapsody.” Despite facing challenges and criticism for his focus on Jewish themes during a time when such expressions were less embraced in classical music, Bloch remained dedicated to his artistic vision, although he disliked being pigeonholed as a “Jewish” composer. Over time, his compositions gained admiration for their depth, originality, and emotional power. Ernest Bloch's contributions to music continue to be celebrated, and his works remain an integral part of the classical repertoire, revered for their evocative storytelling and profound musical expression. From Jewish Life written for cello and piano, consists of three movements: "Prayer," "Supplication," and "Jewish Song.” Each movement reflects different aspects of Jewish culture and spirituality. "Prayer" opens with a solemn and contemplative mood, evoking a sense of introspection and reverence. The music resonates with a prayerful quality, capturing the essence of spiritual devotion. "Supplication," the second movement, intensifies the emotional depth by exploring themes of longing and pleading. It carries a sense of urgency and fervor as if beseeching for something deeply desired yet just out of reach. The music here often features dramatic gestures and poignant melodies, conveying a powerful sense of emotional struggle. The suite concludes with "Jewish Song," a lively and spirited movement celebrating the vibrant and joyful aspects of Jewish music and culture. Its melodies are often spirited and dance-like, evoking a sense of festivity and communal celebration. Bloch's "From Jewish Life" is highly regarded for its rich melodies, expressive depth, and ability to capture the essence of Jewish cultural and spiritual themes through music. It's a piece that resonates with audiences not only for its technical brilliance but also for its emotional resonance and cultural significance.


Back

Melanie Bonis
Suite en trio for Violin, Flute & Piano, Op. 59



Son to mother: "But mother, I'm in love with her!" Mother: "You can't marry her! She... is...[moment of the big reveal] your sister



Mélanie Bonis (1858-1937) undoubtedly had one of the more turbulent lives of any composer who lived in France in the late 19th and early 20th centuries. A tremendous musical talent and self-taught pianist, she rose from a lower-class family to hold her own in a Paris Conservatoire composition class taught by Ernest Guiraud where her classmates included Claude Debussy and Gabriel Pierné, and her organ teacher was Cesar Franck. In the hothouse environment of the Conservatoire she fell in love with fellow student and singer-poet Amédée Landély Hettich, a relationship quickly ended by her scandalized parents who removed her from the Conservatoire and set her up in an arranged marriage with a businessman, Albert Domange, who was much older than Bonis and uninterested in her compositions. Years later, Bonis would be reunited with Hettich who encouraged her to return to composing and connected her with publishers, putting her on a more successful path, although as a woman in a man's world, she felt compelled to use the pseudonym "Mel Bonis" in publications of her work. Bonis and Hettich fell into an affair leading to an illegitimate child, Madeleine who was hidden away with a former maid. Years later Bonis' son Édouard fell in love with Madeleine, forcing Bonis to reveal the true story. Any potential filmmakers here? Bonis wrote over 300 works and was praised by leading composers such as Camille Saint-Saëns and her old classmate Gabriel Pierné. She became a member of the prestigious Société des compositeurs de musique (SCM) which organized composition competitions in which Bonis twice won prizes. In 1910, in another pioneering step, she became secretary of the SCM, working with people like Massenet, Saint-Saëns, and Fauré. Her prominence gave her access to some of the best performers in Paris.(Biographical notes by Joshua Gordon for an April 1st, 2023, recital of a different work.) Her Suite en Trio for Violin, Flute & Piano, Op. 59 was written in 1903 and was out of print and little known until recently. The Serenade first movement is sweetly flowing but with a sense of bittersweet nostalgia, almost as much a Pastorale as the so entitled second movement, which becomes even more romantically imbued. The third movement, Scherzo, is a joyous quick-step celebration that concludes with an almost Viennese Gemüchtlichkeit sense of well-being.(David Derow, 2023.11.15)


Back

Johannes Brahms
Trio in Eb for Violin, Cello & Piano



Johannes Brahms was born on May 7th, 1833, in Hamburg in what is now Germany. His father was a double bass player with the Hamburg opera and recognized Johannes' talent early on. Although the family was rather poor, a great emphasis was placed on education for all the children, and Johannes studied the piano from the age of seven and theory and composition from 13. His first public performance as a solo pianist was in 1847 at the age of 14. By 1848 he had begun to make his living by playing in taverns and dance halls. In 1853, Brahms embarked on a concert tour of Germany, and it was then that he met the violinist Joseph Joachim who would become his frequent accompanist, colleague, and friend. He also met Robert and Clara Schumann who would have a profound effect on his career and private life. Schumann hailed the young composer as the coming genius of German music and arranged for the publication of his first songs and piano sonatas. During these early years, Schumann's mental state was deteriorating rapidly, and Clara and Brahms fell in love with each other. Brahms' devotion to Clara would remain constant throughout his life, but it is not thought that they ever consummated their relationship. Johannes Brahms died on April 3rd, 1897, of liver cancer in Vienna. The Trio in Eb for Violin, Cello & Piano, Op.40 was composed in 1865 while Brahms was mourning his beloved mother's death and serves as a sort of elegy to her memory as well as a working through of his grief. Its most common incarnation is as a trio for violin, horn, and piano, a rather unusual chamber music combination, although Brahms did offer the option of performing the horn part on the cello. (In 1884, he revised the work, adding a transposed horn/cello alternate part for viola.) According to some sources, the haunting horn (cello) melody came to Brahms as a sort of hunting horn call while he was hiking in the woods, which may explain the work's slow 1st movement Andante (walking) tempo. The 2nd movement's quick, cheerful Scherzo tempo is believed to represent Brahms' recollections of happy times spent with his mother. The very slow Adagio 3rd movement incorporates a German funeral march melody and speaks for itself as one of Brahms' most emotionally fraught pieces. The fast Allegro Finale with its recapitulation of the previous themes and happy conclusion is seen as the end of Brahms' mourning


Back