January 21, 2011
Friday-8:00pm | University of North Carolina School of Music Recital Hall
Antonin Dvořák
Romantic Pieces, Op. 75
Allegro moderato
Allegro maestoso
Allegro appassionato
Larghetto
Yura Lee, violin
Inara Zandmane, piano
Zoltán Kodály
Serenade for String Trio, Op. 12
Allegramente
Lento, ma non troppo
Vivo
Dmitry Sitkovetsky, violin
Janet Orenstein, violin
Yura Lee, viola
Felix Mendelssohn
Piano Trio No.2, Op.66
Allegro energico e con fuoco
Andante espressivo
Scherzo: Molto allegro quasi presto
Finale: Allegro appassionato
Yura Lee, violin
Beth Vanderborgh, cello
Inara Zandmane, piano
Sponsor
Program
Antonin Dvořák (1841-1904)
Romantic Pieces, Op. 75
Dvořák and his family were living in his mother-in-law’s house when a room was rented to an amateur violinist who often played duets with his teacher. The composer, a violist, wanted to play chamber music with them, so he wrote a string trio entitled Miniatures (1887). He then arranged the trio for violin and piano and renamed it Romantic Pieces, which is being performed tonight. Unusual for a suite of four little pieces is the fact that they end with a slow movement.
Zoltán Kodály (1882-1967)
Serenade for String Trio, Op. 12
In much of his music, Kodály found inspiration in the folksongs of his native Hungary. (Bartók did the same thing.) The Serenade for String Trio, written in 1920, is an example of this in that it uses themes that are reminiscent of music from his home country. The first and last movements are fast and dancelike in character, while the greatly contrasting second movement is slow and dramatic.
Felix Mendelssohn
Piano Trio No.2, Op.66
The final piece on tonight’s chamber music program is the oldest (1845) and most traditional. Mendelssohn followed traditional models for his works, and this trio can be clearly heard as part of the evolution from Haydn to Mozart to Schubert to Beethoven. Especially noteworthy is the final movement, which is in rondo form. Rondos always have a main theme that recurs several times interspersed with different music. In one of the sections of contrasting music (called “episodes”), Medndelssohn quoted Bach’s Chorale “Gelobet seist Du, Jesu Christ” (Praise to You, Jesus Christ). This serious moment provides great contrast in an otherwise light and fast finale.
After Hours with Dima!
Immediately following the Chamber concerts, join us at the Green Valley Grill Bar with Dmitry Sitkovetsky and the Chamber Concert Musicians.
Complimentary appetizers provided by the Green Valley Grill.
Sponsored by the O. Henry Hotel | 622 Green Valley Road
