The UP CLOSE AND CLASSICAL CLARINET TRIO /March 14 at 12:00 noon at the Edendale Library Up Close Concerts

 Join us Saturday, March 14th at 12:00 noon for our next Edendale Up Close concert. We are excited to present the Up Close and Classical Clarinet Trio – clarinetist Peter Nevin, violinist Limor Toren, and cellist Alicja Blanquart. They will be performing pieces by Joseph Haydn, Hans Gal, Adolf Georg Wilhelm Busch, and Ingolf Dahl.

The Edendale library address is 2011 Sunset Blvd., enter from the Alvarado St. side through the library parking lot. Email eden@lapl.org for more information.

Joseph Haydn Trio for clarinet, violin and violoncello in B flat major Hob.IV B1

(1732-1809) 1 Allegro 2 Adagio 3 Minuetto-Trio 4 Presto 

The trio plays a rather important role in Joseph Haydn's output. One hundred and twenty six trios for the string instrument called baryton were composed between 1762 and 1775 for Haydn's employer, Prince Esterházy. As late as 1794, Haydn composed the popular “London trios” for two flutes and violoncello. This is from a set of three trios (Hob. IV.; Es 1; Es 2; B 1). The occasion and for whom they were composed remains unknown. They appeared first in a 1781 Breitkopf catalogue. This form in 4 movements, with easily identified themes, repetitions and variations seemed like a good point of reference to compare to the more recent forms later in our program. 

Hans Gál Serenade for clarinet, violin and violoncello, Op.93 

(1890-1987) 1. Cantabile 

2. Burletta (Vivace, Trio, Vivace)

3. Intermezzo (Andantino)  and cadenza to… 4. Giocoso (Allegro molto, andante, allegretto, molto vivace )

Hans Gál was born in Vienna. His operas and other compositions met success in Austria and Germany after 1920. He was appointed director of the Mainz conservatory in 1929, but dismissed in 1933 when Hitler came to power. He fled to Vienna then in 1938 to Britain, where he was interned with other refugees in 1940, but finally took up residence in Edinburgh where he taught and composed until his death at age 97.  This Serenade has four movements. The opening Cantabile balances an almost pastoral opening with a prickly second subject. The Burletta is the other way round: the Trio presents the lyrical mood whilst the initial Vivace section is sarcastic and dark. The short Intermezzo, Andantino, is lugubrious, with pizzicato strings and sad melody. This leads to a cadenza, and then the Giocoso brings the Serenade to a happy-ever-after conclusion but not before a lovely little tune is expounded. 

Adolf Georg Wilhelm Busch German Dances in F Major, Op. 26 No. 3

(1891 – 1952)

Calm Waltz Tempo, Vivace, Un poco tranquillo, Vivace, Un poco tranquillo, Tranquillo, Vivace.

Adolf Busch was a violinist who pioneered the modern chamber orchestra and recordings of chamber music. Born in Germany, he emigrated to Switzerland then to Vermont. The Busch Quartet formed in 1920 was particularly admired for its interpretations of Brahms, Schubert, and above all Beethoven. Busch was a great soloist as well. As a composer, he was among the first to compose a Concerto for Orchestra, in 1929. A number of his compositions have been recorded, including these German Dances. 

Ingolf Dahl Concerto a Tre

(1912 – 1970) Allegro-Moderato-Presto

Dahl grew up in Germany and fled the Nazi regime, first to Switzerland, then to Los Angeles, where he taught composition at USC from 1946 to his death in 1970. This concerto was created for Benny Goodman at the clarinet. Dahl left us a program note: “The basic thematic idea … consists of six notes: E-flat, B-flat, B-flat, C, F, F.  The character of the work is concertante [a piece with multiple solo parts] and playful but at the same time very strictly organized on the basis of the previously stated ‘thematic germ.’ These notes are almost ever-present in harmonic guises too numerous to mention: they are contracted (as at the very end) or expanded (as at the beginning). They are transposed, inverted, telescoped, and also hidden under elaborate melodic designs. It is not the composer’s intention that the manipulation of the ‘thematic germ’ be consciously experienced by the listener. They are just a means to an end, which is the expressive and intellectual musical whole.”