October 13, 2017
Celia Morin, violon; Stephanie Morin, flute; Gerald Morin, cello; Sylvia Bruns, piano
- C. P. E. Bach (1714-1788) - Trio Sonata for flute, violin, cello and keyboard H. 578
- Jules Mouquet (1867-1946) - La Flûte de Pan for flute and piano, opus 15
- Peter Charles Allen (1961- ) - Waltz for flute and piano
- Francis Poulenc (1899-1963) - Sonata for cello and piano
- Antonin Dvorak (1841-1904) - Bagatelles for flute, violin, cello and piano, opus 47
Melodies! Melodies! Melodies! Along with some catchy folk rhythms. The concert begins with an 18th century trio sonata featuring interwoven singing lines for the flute and the violin. Then a duo by Mouquet evokes the pastoral tunes of the flute-playing god, Pan. The second half features the bitter-sweet harmonies of the 20th century master-of-melodies, Francis Poulenc. A set of Bagatelles by Dvorak - charming folk melodies and rhythms from his beloved Czech countryside – close the concert.
November 10, 2017
Philip Chiu, piano
- Ravel (1875-1937) - Ma mère l'Oye (Mother Goose Suite)
- Rachmaninoff (1873-1943) - Preludes (selections from Op. 23, Op. 32)
- Schubert (1797-1828) / Liszt (1811-1886) - Fantasy in C Major, "Der Wanderer", D. 760
- Liszt (1811-1886) - Legends, S.175
Ravel’s lovely Mother Goose suite was originally written as a piano duet but is played here in the solo version; as always, Ravel’s music bears his usual signatures of lush sounds and elegance. Next, a few of Rachmaninoff’s favorite and well known preludes, followed by a Schubert masterpiece, the “Wanderer” Fantasy in C major; the second of the four movements borrows a theme from one of Shubert’s songs, “Der Wanderer”. This colossal work relies on the development of cells or motives that give unity to the whole work; Schubert treats the piano like an orchestra so the work presents an extreme technical challenge for the performer. To end the concert, we hear the virtuosic and inspiring Legends of Franz Liszt.
December 8, 2017
Victor Fournelle-Blain, violin; Justine Pelletier, piano
- Mozart (1756-1791) - Violin sonata in E minor, K.304
- Prokofiev (1891-1953) - Five Melodies op.35
- Massenet (1842-1912) - Meditation from Thaïs
- Beethoven(1770-1827) - Violin sonata no.5 in F major, op.24, "Spring"
- Messiaen (1908-1992) - Theme and Variations
The sonata in E minor, one of Mozart’s finest chamber works, and the only one written in a minor key, was composed when he was 22 around the time of his mother’s death. This is reflected in the sad and quietly tragic character of the music. Einstein considered it “one of the miracles among Mozart’s works”. The five exquisitely shaped melodies originally composed as “vocalizes” by Prokofiev were later beautifully adapted for the violin. In a similar way Massenet’s Meditation from Thais was transcribed for violin and piano from the original version for violin and orchestra. Following Messiaen’s ‘Theme and variations” written as a wedding present for his first wife, Beethoven’s lovely “Spring” sonata is sure to delight the audience.
January 19, 2018
Marina Thibeault, viola; Janelle Fung, piano
Schubert and Schumann : Contrasts and Contradictions
- Franz Schubert (1797-1828) - Gute Nacht from the Winterreise
- Robert Schumann (1810-1856) - Adagio and Allegro op. 70
- Schubert - Litanei auf das Fest Aller Seelen, arr. Primerose
- Schumann - Märchenbilder, op. 113
- Schubert - Nacht und Träume
- Schubert - Sonata in A minor for arpeggione and piano, D. 821
The viola is given the exquisitely shaped melodies from some of Schubert’s most beautiful songs, alongside Schumann’s Adagio and Allegro, a truly romantic work where he expresses a struggle between conflicting emotions. Next, the Märchenbilder (Fairy tale pictures) inspired by fairy tales, is a set of four character pieces written by Schumann specifically for the viola. Although the arpeggione, an instrument invented in Vienna towards the end of Schubert’s life, didn’t become popular and was soon forgotten, this cannot be said about the wonderful sonata the composer wrote for it. With its lyrical melodies, mood contrasts and technical challenges, it is still a favorite of the cello and viola repertoire.
February 16, 2018
Roman Fraser, violin; Justin Almazan, viola; Joshua Morris, cello; Meagan Milatz, piano
- Mozart, Wolfgang Amadeus (1756-91) - Duo for Violin and Viola, K. 423
- Beethoven, Ludwig van (1770-1827) - String Trio in C minor, Op.9 No.3
- Dvořák, Antonín(1841-1904) - Piano Quartet No.2, Op.87
Dvorak’s piano quartet was composed in the summer of 1889 and first performed in Hamburg on the 17th of October 1990. Although it often lives in the shadow of his more popular piano quintet it’s nonetheless a mature work where one can feel the romantic influence of Brahms but also the lyricism and the refined tone, colours and textures of Schubert.
Dvorak writes himself about this quartet to a friend: “Do you want to know what I'm doing? My head is full of it. If only one could write it immediately! But it's no use, I have to go slowly, only what the hand can manage and the Lord God will grant the rest of it. Now I have again already three movements of a new quartet with piano completely ready and the finale will be finished in several days. It's going unexpectedly easily and melodies are coming to me in droves. Thanks be to God!”
Preceding this beautiful work of Dvorak, are Mozart’s duet for violin and viola and Beethoven’s String Trio in C minor written just before his first string quartets.
March 16, 2018
Trio Fibonacci: Julie-Anne Derome, violin; Gabriel Prynn, cello; Steven Massicotte, piano
- Beethoven (1770-1827) - Trio op.70, no.1 (Ghost Trio)
- Frédéric Chopin (1810-1849) - Trio op. 8
- Gioachino Rossini (1792-1868) - “La Danza”
- Marc Hyland (1960- ) - Chants du Signe
Beethoven’s “Ghost” Trio, the most popular one after the Archduke Trio got its nickname from the mysterious and eerie character of its slow movement. Chopin's rarely played but no less beautiful trio is an early work that already shows a lot of maturity. It's a lovely chamber music work that deserves to be heard more often. Rosssini’s “Danza” and Marc Hyland’s “Chants du signe” (Songs of the Sign) completes this romantic program; this last piece was composed as a commission for the Fibonacci Trio.