Podcasts about claremont trio

The Claremont Trio — Queen of Hearts (Tria) Jump to giveaway form New Classical Tracks - The Claremont Trio by “The Claremont Trio started in 1999. Currently, our incredible pianist is Andrea Lam. She's from Sydney and is such a beautiful pianist and wonderfully fun collaborator,' violinist Emily Bruskin said. “We've had a great time. The first pieces we learned together are works commissioned for our new CD, Queen of Hearts.” Bruskin and her twin sister, cellist Julia Bruskin, formed the Claremont Trio while they were living on Claremont Avenue in New York City. They were students in a joint program between Columbia and Juilliard. Their new recording marks the group's 20th anniversary, albeit a little late due to COVID. It features works that the Claremont Trio commissioned over the past two decades. “It's fun for us. It takes us back to pieces from 2008, and then something from 2012 or 2016. It brings us back to memories from different points in our career when these pieces were written, when we were working on them or when we played them often. It was a fun way for us to revisit experiences over our 20 years together.” How does the piece Queen of Hearts represent the Claremont Trio? “Queen of Hearts is what Kati Agócs wrote for us, and it's an amazing piece; it's all in one movement. It's a spiritual journey from a very heartfelt, intuitive spiritual composer. She's a singer herself, and the piece is a long emotional journey. I think it's something that we enjoy playing. We're an all-women group, and she likes the symbolism of the Queen of Hearts. Its powerful resilient femininity made for a fun title for the disc.” How is the concept of resilience represented in the music? “She uses a chaconne in the music, which is basically a repeating bassline that goes throughout the music. When she was writing the piece, there were challenges in her personal life. She found the idea of returning to something familiar or dependable helpful. It's a beautiful way to write a composition, because even when you're wandering very deep in the woods, in the middle of the piece, you feel like you know where you are and where you want to get back to.” Where does the title of Nico Muhly's piece, Common Ground, come from? “He was using the ground bass, which is like the chaconne. He also uses the piano and strings as opposites of each other in the piece. Common Ground is referring to two elements finding common ground. It is the piano on the strings, finding ways to work together.” Could you talk about the three little pieces by Helen Grime? “We were commissioning pieces to commemorate the grand opening of a concert hall in Boston at the Isabella Stuart Gardner Museum. She wanted art from the museum to inspire her works, and she picked out three Whistler miniatures. They're little watercolor paintings that are incredibly beautiful, impressionistic, with subtle color palettes. Grime's music is kind of like that. It's evocative and as soon as it starts, you feel like you're in another world. “It's so exciting to commission a new piece and to play music that nobody's ever heard before. It's fun to collaborate with composers figuring out what inspired them and what's cool, exciting or gorgeous about their new piece of music.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now More on the Claremont Trio Claremont Trio, 'Serenata' Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources The Claremont Trio — Queen of Hearts (Amazon) The Claremont Trio (official site)

Today we get to meet Julie Bruskin, cellist with the Met Orchestra. Julie joined the Orchestra 6 years ago, in 2014. She is an incredible cellist with an AMAZINGLY impressive resume. Julie is unique in the fact that she's encompassed the entire gamut of the different professions a classical cellist can have. Not only is she an orchestral cellist, she also still tours the world with her piano trio, The Claremont Trio. She has soloed with so many major orchestras, won competitions including the YCA, and is also a recording artist. She is currently Co-Artistic Director of the Skaneateles Festival with her husband, Dr. Aaron Wunsch. Julie attended Juilliard and Columbia, and has been a faculty member of the Juilliard Pre-College and Queens College. She is also a mother of two. I am so excited to share my conversation with Julie today! Come join us as Julie walks us through her career and how she's been faring the pandemic. --- Support this podcast: https://anchor.fm/julia-choi/support

In our interview at Sri Venkateswara with Priest Charlu we discuss the Hindu conception of God, the role of karma in human life, and attaining moksha.Here is a link to the temple's website: https://www.svtemple.org/Home.aspxThis podcast's intro and outro feature Schubert's "Piano Trio in E-flat major, D. 292" performed by the Claremont Trio (Emily Bruskin, violin; Julia Bruskin, cello; Donna Kwong, piano) available under a Creative Commons Attribution-Noncommercial license. To listen to more music by the Claremont Trio go to http://claremonttrio.com/

In this interview with Imam Chris Caras we learn about his conversion from Christianity to Islam, the importance of Arabic within the religion, the fundamental beliefs and practices of Islam, and common misconceptions about the religion.Here is a link to Chris's website: http://www.chriscaras.com/And a link to the Islamic Center of Pittsburgh: https://www.icp-pgh.org/This podcast's intro and outro feature Schubert's "Piano Trio in E-flat major, D. 292" performed by the Claremont Trio (Emily Bruskin, violin; Julia Bruskin, cello; Donna Kwong, piano) available under a Creative Commons Attribution-Noncommercial license. To listen to more music by the Claremont Trio go to http://claremonttrio.com/

In this interview with Dr. Eric Seibert we discuss troubling sections in the Old Testament involving violence, the character of Christ presented in the Gospels, and Christian pacifism.Here is a link to Eric's webpage for Messiah College: https://www.messiah.edu/a/academics/facultydir/faculty_profile.php?directoryID=9&entryID=476And a link to his Amazon page: https://www.amazon.com/Eric-A.-Seibert/e/B001HPPAGG%3Fref=dbs_a_mng_rwt_scns_shareThis podcast's intro and outro feature Schubert's "Piano Trio in E-flat major, D. 292" performed by the Claremont Trio (Emily Bruskin, violin; Julia Bruskin, cello; Donna Kwong, piano) available under a Creative Commons Attribution-Noncommercial license. To listen to more music by the Claremont Trio go to http://claremonttrio.com/

In this interview with Rabbi Aaron Bisno we discuss the history of Reform Judaism, Jewish beliefs about God, God's election of the Jewish people, and the relation of Reform Judaism to other religions.Here is a link to Rabbi Bisno's synagogue's website: https://www.rodefshalom.orgThis podcast's intro and outro feature Schubert's "Piano Trio in E-flat major, D. 292" performed by the Claremont Trio (Emily Bruskin, violin; Julia Bruskin, cello; Donna Kwong, piano) available under a Creative Commons Attribution-Noncommercial license. To listen to more music by the Claremont Trio go to http://claremonttrio.com/

I'm incredibly happy to welcome someone I admire and respect profoundly to the show this week: Howard Herring, President and CEO of the New world Symphony! In our conversation, Howard talks about the many aspects of NWS, including the first rate musical training , the incredible programs and initiatives that they have, the support they offer to their musicians, the richness they bring to their community, how they train future leaders in our industry, and how we can all be powerful agents of artistic innovation in our communities. He also elaborates on: Their formula for audience building How they create programs tailored for their audience The importance of creating an experience for the audience and getting feedback from the public   NEW ON THE WEBSITE: A Resources page! You can find my favorite websites, cds, as well as the other podcasts I like to listen to and the amazing books recommended by my podcast guests! Visit www.mindoverfinger.com/resources!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!   MORE ABOUT HOWARD AND ABOUT THE NEW WORLD SYMPHONY: Website: https://www.nws.edu/ Facebook: https://www.facebook.com/NewWorldSymphony Instagram: https://www.instagram.com/nwsymphony/ Twitter: https://twitter.com/nwsymphony YouTube: https://www.youtube.com/channel/UCN0U8vgodeDz9pL16A_eBTA   Howard Herring Howard Herring is a native of Oklahoma, a pianist by training, and now President and CEO of the New World Symphony. After his academic work at Southern Methodist University and Manhattan School of Music, he was pianist of the Claremont Trio, a winner of the Artists International Competition, and an active musician and teacher in New York City. In 1986, he became Executive Director of the Caramoor Music Festival. Mr. Herring led that institution's development of the Rising Stars program for young instrumentalists, Bel Canto at Caramoor for young singers, and a curriculum-based arts program integrating music and visual art into K-12 studies. During his fifteen-year tenure, Caramoor celebrated its 50th anniversary and established its first endowment.   In 2001, Mr. Herring assumed leadership of the New World Symphony – America's Orchestral Academy, a three-year post-graduate fellowship program for aspiring classical musicians and leaders. He was given the charge of energizing the institution's national and international profile and developing a new building designed to explore its unique experiential curriculum and cutting edge digital work. The building was completed on time and on budget and opened to national and international acclaim in January 2011. The New World Center, designed by Frank Gehry, enables New World Symphony to exploit the global reach of broadband technology for education and digital capabilities for artistic expression. New World Fellows are exploring the establishment of an online music education community, integration of music and video, and engagement of new audiences through alternate performance formats. Dynamic partnerships with professional orchestras and distinguished music schools have been formed around these experiments.   New World Symphony   The New World Symphony, America's Orchestral Academy (NWS), prepares graduates of music programs for leadership roles in professional orchestras and ensembles. In the 32 years since its co-founding by Artistic Director Michael Tilson Thomas and Lin and Ted Arison, NWS has helped launch the careers of more than 1,100 alumni worldwide. A laboratory for the way music is taught, presented and experienced, the New World Symphony consists of 87 young musicians who are granted fellowships lasting up to three years. The fellowship program offers in-depth exposure to traditional and modern repertoire, professional development training and personalized experiences working with leading guest conductors, soloists and visiting faculty. Relationships with these artists are extended through NWS's extensive distance learning via the internet. MISSION The mission of the New World Symphony is to prepare highly-gifted graduates of music programs for leadership roles in orchestras and ensembles around the world. VISION The New World Symphony envisions a strong and secure future for classical music and will redefine, reaffirm, express and share its traditions with as many people as possible. STATEMENT OF PURPOSE The New World Symphony is dedicated to the artistic, personal and professional development of outstanding instrumentalists. The NWS fellowship program provides graduates of music programs the opportunity to enhance their musical education with the finest professional training. A laboratory for musical education and expression, the New World Symphony, through a wide range of performance and instructional activities, seeks to develop in its participants the full complement of skills and qualifications required of 21st-century first-class musicians. Under the artistic direction of Michael Tilson Thomas, the program offers in-depth exposure to traditional and modern repertoire, with the active involvement of leading guest conductors, soloists and visiting faculty. The relationships with these artists are extended through NWS's pioneering experimentation with distance learning and performance. CULTURE The New World Symphony is committed to maintaining an educational, working, and living environment founded on civility and mutual respect.  We have a philosophy of continuous improvement and are committed to strengthening this environment for the benefit of our Fellows, employees, and entire community.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

In this interview with the Secular Humanist, Dr. Andy Norman, we discuss the possibility of having objective morality, human rights, and a life of meaning without the concept of God. Here is a link to Dr. Norman's Academia page: http://cmu.academia.edu/AndyNormanThis podcast's intro and outro feature Schubert's "Piano Trio in E-flat major, D. 292" performed by the Claremont Trio (Emily Bruskin, violin; Julia Bruskin, cello; Donna Kwong, piano) available under a Creative Commons Attribution-Noncommercial license. To listen to more music by the Claremont Trio go to http://claremonttrio.com/

In this interview with Rev. Steve Palmer we discuss the religious experiences of grace in his life, the paradoxes of the Trinity, and what the Christian God is like.Here is a link to Steve's website: https://www.steveandkamala.com/This podcast's intro and outro feature Schubert's "Piano Trio in E-flat major, D. 292" performed by the Claremont Trio (Emily Bruskin, violin; Julia Bruskin, cello; Donna Kwong, piano) available under a Creative Commons Attribution-Noncommercial license. To listen to more music by the Claremont Trio go to http://claremonttrio.com/

Notes Transcript(machine generated) LA Times Article Podcast: The Hubert Dreyfus Collection (coming soon) Website: The Hubert Dreyfus Collection (coming soon) The Present Age by Soren Kierkegaard Dreyfus Auto-Biography interview Dreyfus on Moby-Dick Music Brahms - Piano Trio No.3, Op.101 - 1. Allegro energico (C minor) Preformed by Claremont Trio, provided - Provided under a Creative Commons (CC) Licence Mendelssohn - Lieder ohne Worte, Op.19b - 6. Andante sostenuto (G minor) Performed by Bui-Nguyen Trieu-Tuong - Provided under a Creative Commons (CC) Licence

An audio recording by Stan Papoulias and others, edited by Leon Rocha, based on USSbriefs66 "Goodwill hunting after the USS strike" (written by Gail Davies). Full text is available on https://medium.com/ussbriefs/goodwill-hunting-after-the-uss-strike-3b2e302d0dc7 or on ussbriefs.com. Musical excerpts from Claremont Trio, "Piano Trio in E-flat major, D.929 (Schubert, Franz)" (Boston: Isabella Stewart Gardner Museum, 2015) https://imslp.org/wiki/Piano_Trio_in_E-flat_major%2C_D.929_(Schubert%2C_Franz)

Work for piano trio by Schubert performed by Claremont Trio on April 26, 2015. Schubert: Trio in E flat Major, Op. 100Some works call for their own podcast. We have just such a piece on this program: Schubert’s Piano Trio No. 2, opus 100. We’ll hear it performed by the Claremont Trio: violinist Emily Bruskin, cellist Julia Bruskin, and pianist Donna Kwong.The second movement features a minor tune that—thanks to Schubert—has become fairly well known. The use of this folk tune was supposedly inspired by the composer’s encounter with a Swedish folk singer shortly before he wrote the piece. If you listen carefully, you’ll notice that the theme returns. In the final movement, it makes a second appearance, this time a bit altered to fit its new surroundings, but still recognizable. It gives the expansive piece a sense of coherence and familiarity, a feel of musical déjà vu: I’ve been here before, one can’t help but think, although things look very different the second time around.Unlike many of his other late works, Schubert actually had the opportunity to hear this trio played before he passed away. It was performed at an engagement party for a school friend of Schubert’s.

Works for piano trio performed by the Claremont Trio.Mozart: Piano Trio in E Major, K. 542Mendelssohn: Piano Trio in C Minor, Op. 66This week, we’ll hear two crowning achievements by two great composers: piano trios by Mozart and Mendelssohn.Mozart’s fourth piano trio, K. 542 was written about three years before the composer’s death, in the middle of an especially rough period. He managed to write, in that same year, his final three incredible symphonies and his last three piano trios; this trio was the first of the group.However musically brilliant, this trio was an imperfect fit for the classical music market at the time, which desired chamber pieces that could be easily picked up and performed off-the-cuff by amateurs as after-dinner entertainment. This piece was not really intended for that sort of casual sight-reading.Next, we’ll hear Mendelssohn’s second piano trio, in C minor. This trio, like Mozart’s, was written near the end of Mendelssohn’s life, one of his final chamber works. By turns dramatic and tuneful, the piece ends with a rousing finale that is always sure to bring audiences to their feet.The double-bill we’re hearing today was recorded live at a September 2012 recital by the Claremont Trio.

Songs for piano trio and string trio by the Claremont Trio and Musicians from Ravinia's Steans Institute.Gabriela Frank: Folk Songs for Piano TrioErnő Dohnányi: Serenade Op. 10 (String Trio)We are all, in one way or another, a product of the culture into which we are born. This week’s podcast features music by two composers who built on those roots.We’ll begin with a recording of the Claremont Trio performing a new work, a piece commissioned for the opening season at the Gardner’s new Calderwood Hall. Simply titled "Folk Songs for Piano Trio", the piece was written by Gabriela Lena Frank. Born in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank is deeply interested in identity and culture. In this piece, she was especially inspired by her mother’s Peruvian heritage; the composer describes it as “a series of snapshots of Andean life.” It’s a wonderfully imaginative, engaging work, and one that the Claremont Trio--for whom it was written---will no doubt long enjoy playing.Next, we have another trio, this one Dohnanyi’s Serenade for String Trio, performed by Musicians from Ravinia’s Steans Music Institute. Dohnanyi was vitally important to musical life in his native Hungary, sand in this string trio, it is easy to detect the distinct influence of Hungarian folk music, particularly in the first and final movements.Before our trip to Hungary, though, we’ll begin in the Andes, with Frank’s "Folk Songs for Piano Trio."

Work for piano trio performed by the Claremont Trio.Schumann: Piano Trio in D Minor, Op. 63It's no surprise that one of Robert Schumann's great strengths as a composer was his lieder, or songs for voice and piano. Another early love was literature; he read many of the great German poets and philosophers and he wrote about music extensively, even founding a music journal called the Neue Zeitschrift für Musik.We'll hear Schumann's first piano trio, in D minor, performed by the Claremont Trio. Though Schumann gives no intimation that he intended the piece to have any sort of story, or program, it's hard to ignore the qualities it shares with his other, more explicitly programmatic music: rapidly shifting moods, with episodes of great passion and intensity alternating with moments of light, shimmering character.

Works for piano trio performed the Claremont Trio.Sean Shepherd: TrioAnton Arensky: Piano Trio in D Minor, Op. 32The Claremont Trio are longtime favorites at the Gardner Museum, and so it seemed fitting that they were part of the opening series at the Museum’s new Calderwood Hall almost exactly a year ago: on January 22, 2012. Their program featured another debut, too: the world premiere of the young composer Sean Shepherd’s Trio for piano trio, written especially for the Claremont Trio. Shepherd says he was inspired by the architecture of the new hall as he wrote the piece: “I was taken with the unusual shape of the hall, a vertical cube with three wrapping balcony levels hovering nearly directly over a square stage,” he writes.Shepherd’s work is followed on the program by an early recording of the Claremont Trio in the Gardner’s former concert hall, the Museum’s Tapestry Room. We’ll hear their rendition of Anton Arensky’s Piano Trio, a well-loved piece by a little-known composer. The trio has been heard before on the Gardner podcast—in episode 44—but it bears repeating.We’ll start with Sean Shepherd’s 2012 trio before journeying back in time to Arensky’s, from 1894.

Works for piano trio performed by the Claremont Trio.Fanny Mendelssohn (Hensel): Piano Trio in D Minor, Op. 11Helen Grime: Three Whistler Miniatures (World Premiere)Born in 1805 in Hamburg, Fanny Mendelssohn grew up studying music alongside her little brother, Felix. But as she neared marrying age, she was increasingly discouraged by the men in her family—first her father, then her brother—who thought it improper for a lady to pursue a career as a published composer. In recent decades, however, Fanny Mendelssohn’s music has been published, recorded, and performed with increasing frequency. We’ll begin our podcast today with a performance by the Claremont Trio of Fanny Mendelssohn’s engrossing Piano Trio in D minor, Opus 11, considered by many to be one of her finest works.After that, we’ll hear another trio, this one by a contemporary female composer, Helen Grime. The three-movement work, titled “The Whistler Miniatures,” was commissioned in honor of the opening of the Gardner Museum’s new concert space, Calderwood Hall, and was premiered there in April 2012. The set of musical miniatures was inspired by three Whistler chalk and pastel miniatures in the Gardner Museum’s collection, all of which can be seen hanging in the Veronese Room at the Museum.

Works for solo piano and for piano trio, performed by pianist Paavali Jumppanen and the Claremont Trio.Beethoven: Piano Sonata in E Major, Op. 14, No. 1Beethoven: Piano Trio in E-flat Major, Op. 70, No. 2Whether it happens right away or many decades later, it’s inevitable: some works in a composer’s oeuvre will become “hits,” and some will never quite get the attention they deserve. In this episode, we’ll focus on two of Beethoven’s chamber pieces that often seem to be in the shadow of more famous counterparts. First, we’ll hear his ninth piano sonata in E Major. Within the context of Beethoven’s complete sonatas, it’s easy to imagine this work being overshadowed by its immediate predecessor, the beloved “Pathétique.” However, the sonata holds plenty of surprise and ingenuity for the attentive listener. The second piece on the program is Beethoven’s E-flat piano trio. The younger sibling of the “Ghost” Trio—which itself is often outshined by the “Archduke,” the most familiar of Beethoven’s trios—the E-flat trio is really quite a lovely melding of old and new. Beethoven seems to nod at his forbears, Haydn and Mozart, while still pushing the harmonic envelope, resulting in a piece that is unassuming on the surface, but surprisingly modern underneath.

Works for violin, cello, and piano performed by the Claremont Trio.Mozart: Piano Trio No. 3 in B-flat Major, K. 502Mendelssohn: Piano Trio No. 1 in D minor, Op. 49The piano trio—an ensemble of violin, cello, and piano—was one of the great innovations of classical and Romantic chamber music. Before that time, composers wrote for similar groups of instruments, but the pieces rarely gave equal prominence to the three players. Classical and Romantic composers shifted the balance of the trio by giving equal weight to all three players and putting equal thought into each instrument’s part. In fact, Mendelssohn made extensive revisions after completing the first draft of his Piano Trio No. 1, adding more elaborate and technically challenging passagework to up the ante for the pianist. Mozart was a true father of the piano trio genre, and his B-flat trio is considered one of his best contributions, chock full of tuneful melodies arranged with grace and balance to show off all three members of the trio to their best advantage.

Works for piano trio performed by the Claremont Trio.Debussy: Piano Trio in GFauré: Piano Trio in D minor, Op. 120Written in 1880, when Debussy was just 18 years old, the Trio in G is undoubtedly the work of a young artist, and it is heavily influenced by the Romanticism that pervaded French chamber music of the day. Of interest to Debussy devotees is the fact that this trio didn’t get its first modern hearing until the 1980s, when various manuscript fragments and parts were assembled into a whole. Also active at the same time, Gabriel Fauré was a major influence on the course of music history. As a composer, his music has at times been given short shrift by history, categorized as relatively conservative. But in 1924, when Fauré wrote the Piano Trio in D minor, he was 78 years old and had seen an incredible span of classical music history. This trio, one of his last works, is undoubtedly his voice, but it exhibits a great deal of musical growth from the style of the earliest days of Fauré’s lifetime.

Works for flute and piano and piano trio performed by flutist Dora Seres, pianist Emese Mali, and the Claremont Trio.Bartók: Three Folksongs from County CsikDvořák: Piano Trio No. 3 in F minor, Op. 65Today we hear two pieces by Eastern European composers heavily influenced by folk music. Many have pointed to the third piano trio as a significant turning point in Dvořák’s style, a moment when his music began to take on the formal heft and cosmopolitan European style of his mentor, Brahms, stepping away from his more folk-inspired earlier works. Before the trio, we’ll hear a brief set by Bartók, another work at the crossroads between folk and art music. One of Bartók’s first experiences with folk music came when he overheard a Transylvanian-born maid singing at a Hungarian resort where he was staying, and decided to write down what he heard. Three years later he traveled to Transylvania to study and transcribe songs there, including the three in this cycle.

Works for flute quartet, flute and percussion, and piano trio performed by flutist Paula Robison, percussionist Ayano Kataoka, Musicians from Marlboro, and the Claremont Trio.Mozart: Flute Quartet in D Major, K. 285Kirchner: Flutings for PaulaKirchner: Trio No. 2Today we explore three pieces intended for a specific patron or performer. Mozart’s Flute Quartet was written at the behest of the wealthy amateur flutist Ferdinand De Jean. Much has been made of Mozart’s purported distaste for the flute, and he struggled to complete the four concertos and six quartets De Jean requested. Listening to this delightful music, though, and the prominent role the flute plays, one can’t help but wonder whether Mozart was being entirely truthful. Kirchner’s Flutings for Paula was originally written for Ms. Robison in 1973. Kirchner reworked it some thirty years later to feature percussion prominently, in the version we’ll hear today. The pairing of flute with vibes and wind chimes creates a verdant, magical mood. Kirchner’s Trio No. 2 was originally written at the urging of the Kalichstein-Laredo-Robinson trio. This work, the composer writes, is evocative of a bygone era of music, a time when form and feeling were of paramount importance, and inextricably linked.

Works for solo piano and piano trio performed by pianist Paavali Jumppanen and the Claremont Trio.Beethoven: Sonata in E Major, Op. 109Beethoven: Trio in E-flat Major, Op. 1, No. 1Beethoven took the musical forms and vocabulary he inherited so far that there was nowhere left to go. We’ll take that conjecture as a jumping-off point for listening to two Beethoven works that demonstrate his innovation within the bounds of classical form. The trio concludes our program, but it comes first chronologically. The work has a firm foothold in the classical style espoused by his teacher, Haydn, but Beethoven’s interest in innovation is evident is the work’s unexpected harmonic shifts. We begin the program at the opposite end of Beethoven’s career, with one of his final piano sonatas, where we see the composer at the height of his compositional powers. In three movements, Beethoven explores familiar structures---sonata form, theme-and-variations, intricate counterpoint---but makes them sound entirely new, with adventurous harmonies, unexpected tempo shifts, and sublime melodies.