Update Title: E0F7A2E4-FF5C-430F-95B8-85720DA35003

ID

Titlecode

Title Name

Marketing Copy

Instrumentation

Commission

Dedication

Program Notes

Trio for Piano, Violin, and Cello was written early in 2001 for the Chamberlain Trio on commission from Frostburg State University. The members of the Chamberlain Trio are Joan DeVee Dixon Broyles, piano; Gloria Stearns, violin; and Ellen Grolman Schlegel, cello. For the premiere in September, 2001 the violinist was Laura Kobayashi.

The work is in one extended movement, approximately 26 minutes in duration (although this may vary somewhat depending on tempos taken).

There are several sections of contrasting character, and each section adds new ideas to material already presented as well as developing previous ideas further, so that the various motives of the piece receive numerous statements and juxtapositions.

A description of the sections follows:

First section. Vigorous and rhythmic motives stated first in the piano alternate with repetitive 16th-note scales and textures. The mood is exhilarated, joyous. A 2-note staccato motive over an 8-note ostinato in the piano brings this section to a close and serves as a transition to the next.

Second section (179-327). A slower, somewhat placid mood prevails, expressed in whole-tone scales and figures that pass one another descending and ascending.

Third section (32.8-366). Poignant, expressive melodic lines permeate this section, the ideas building slightly in intensity before fading away.

Fourth section (367-451). This might be the scherzo portion of the piece, the ideas being by turns percussive and jazzy, with suggestions of familiar tunes that some listeners may recognize (but will not be given away here). Earlier ideas return briefly at the end of this section.

Fifth section (452-54.21). Textures and more adventurous timbres are explored by the instruments, and the statements of new and previous ideas are more sporadic and fragmented. The texture thins and slows toward the end.

Sixth section (543-597). The expressive lines of the third section return, followed by a suggestion of the whole-tone lines, this time building in dynamics and excitement toward the climactic final section.

Seventh section (598 to the end). The exuberant motives and textures of the beginning section return in full force and ultimately bring the work to a boisterous close. --ELD

Title Brand

Year Composed

Copyright Number

Copyright Year

Duration

Ensemble Size

Date Created

Date Updated

Inhouse Note

Bsc Code

Text Author

Premier Performance Memo

Recording Credits

Review

Awards

Title Category

Title Movements

Title Grade

Set Series ID

Title Instrument Category Text

Title Sub Category Text

Title Sub Category

Title Instrument Header

Title Grade Text

Clean Url