About the Artists
After playing together for several years throughout New England, the musical friends known as the Essex Piano Trio (EPT) formalized their working relationship in 2017. Their signature concert title “Conversation among Friends,” borrowing a descriptive phrase from American biographer Catherine Bowen, alludes to their audience-friendly concert format of interesting music interspersed with casual commentary. The trio’s primary goal has been to grow as musicians while making the best music possible to share with its audiences. All from Essex County communities along Boston’s North Shore, violinist Ashley Offret of Salem, cellist David Cabral of Lynn, and pianist Beverly Soll of Rockport believe that their “Conversation among Friends” approach reflects their relationship to the music and to each other. EPT members bring many perspectives from their academic backgrounds and professional lives as educators and performers to their collective as a trio. Pianist Beverly Soll (University of Illinois and University of Maryland) holds a DMA in chamber music/piano. Ashley Offret is a violinist (University of Maine) and music historian (MM, University of Cincinnati College-Conservatory of Music). Cellist David Cabral studied at the Boston Conservatory but works as the chief echocardiographer at Boston Medical Center’s Department of Pediatric Cardiology.
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Program Notes
Ludwig van Beethoven was the last of three Viennese giants of music born during the 18th century – the long-lived Franz Josef Haydn, born in 1732; Wolfgang Amadeus Mozart, who died way too young, born in 1756; and, finally, Ludwig van Beethoven, born in 1770. Beethoven was greatly indebted to his contemporaries and friends Mozart and Haydn for their efforts in establishing the identity of the piano trio, but it was in his hands that this unique ensemble emerged as a vehicle for the three instruments – piano, violin, and cello – interwoven inseparably as partners and true equals. The revered, old master Haydn was in the audience for Beethoven’s first performance of his Opus 1 trios in Vienna in 1794 when the young composer was only 24 years old.
Throughout his creative life, Beethoven returned to this art form, ostensibly stopping at opus 97 (1811) with his spectacular Archduke Trio, a matchless, mature work of beauty, perhaps the most magical piano trio ever written. Although he was almost entirely deaf at this point, Beethoven gave the first performance of The Archduke in 1814. Witnessing a rehearsal of the work, violinist and composer Louis Spohr wrote: “On account of his deafness there was scarcely anything left of the virtuosity of the artist which had formerly been so greatly admired. … I was deeply saddened at so hard a fate.” This is a heartbreaking contrast to the fiery young composer who played his opus 1 trios in 1794 with youthful optimism and pianistic flourish.
Despite this unfortunate loss of Beethoven’s ability to perform as a pianist, there was, however, no loss of compositional brilliance. The Archduke is masterfully organized from the elegant opening theme of the first movement through the playfulness of the scherzo. The andante, a set of variations in hymn-like simplicity, is perhaps the most heart-wrenching movement to be found in the repertoire for piano trio. Even more stunning is the way this movement launches itself, undaunted, into the brilliant finale, which sparkles with such fun and joy that one would never suspect the failing health of its creator.
As our cellist Dave often reminds us, it is a privilege for the Essex Piano Trio to explore the genius of Beethoven and to share it with you. Thank you for joining us in this tribute to the master.
Musical Terms
Chamber music – Music for a small ensemble with only one performer assigned to each part, and no conductor (unlike an orchestra where there are usually many string instruments playing together).
Piano trio – A piano trio is a group of piano and two other instruments, usually a violin and a cello. A piece of music written for this ensemble is called a piano trio. This is one of the most common forms found in classical chamber music and is usually a multi-movement work. The term is also used to refer to the group of musicians who regularly play this repertoire together. For example, our group is called The Essex Piano Trio (EPT), so named because – although we all live in different towns – we all live in Essex County, MA.
Movement – an independent portion of a multi-movement instrumental work such as a symphony, concerto, or sonata.
Tempo marking – an indication at the beginning of a movement or independent piece of music (often in Italian) telling the performer how fast or slow the piece should go. Some tempo marks are accompanied by words that indicate the mood of the piece as well.
Allegro moderato – Moderately fast. The first and fourth movements of the Archduke Trio are both given this tempo marking, but the character of the movements is very different. The first movement is very stately and elegant. The mood of the fourth movement as it barrels out of the Andante variations is wild and exuberant and filled with joy.
Andante cantabile – To be played in a singing style and at a walking tempo (slow, not fast).
Scherzo – The Italian word scherzo means joke or jest. In piano trios, a scherzo is usually the shortest and most light-hearted movement in the piece. A scherzo is almost always in triple meter (which means there are three beats in a measure, and a scherzo is usually in ABA form (which means the first section is repeated after the B section). The Archduke has two alternating principal sections – one light and waltzlike; the other ponderous, but – in true Beethoven fashion – doesn’t rigidly adhere to the expected structure.
Variations – Variation as a musical form can be very simple and fun or can be remarkably complex and serious. Essentially you take a self-sufficient musical theme and repeat it, but with significant alterations, so that its character and meaning are transformed. Mozart’s variations for piano solo on “Twinkle, Twinkle, Little Star,” states the familiar nursery rhyme and then goes through 12 little variations – fast, slow, major, minor, canonically, smooth and not smooth – that are just wonderfully happy and fun. Beethoven’s particular genius in writing variations on a tune is rarely so straightforward. The Archduke variations’ movement may very well be the most profoundly beautiful set of variations ever written.
