BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Abbey Chamber Concerts & Players - ECPv6.15.17//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Abbey Chamber Concerts & Players
X-ORIGINAL-URL:https://abbeychamberconcerts.org
X-WR-CALDESC:Events for Abbey Chamber Concerts & Players
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:Europe/London
BEGIN:DAYLIGHT
TZOFFSETFROM:+0000
TZOFFSETTO:+0100
TZNAME:BST
DTSTART:20220327T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0100
TZOFFSETTO:+0000
TZNAME:GMT
DTSTART:20221030T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0000
TZOFFSETTO:+0100
TZNAME:BST
DTSTART:20230326T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0100
TZOFFSETTO:+0000
TZNAME:GMT
DTSTART:20231029T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0000
TZOFFSETTO:+0100
TZNAME:BST
DTSTART:20240331T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0100
TZOFFSETTO:+0000
TZNAME:GMT
DTSTART:20241027T010000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20230604T150000
DTEND;TZID=Europe/London:20230604T160000
DTSTAMP:20260526T071202
CREATED:20221104T200013Z
LAST-MODIFIED:20230404T124719Z
UID:2606-1685890800-1685894400@abbeychamberconcerts.org
SUMMARY:Ravel Piano Trio\, Mozart Piano Trio\, Schoenfield Café Music
DESCRIPTION:Maurice Ravel (1875-1937) Piano Trio (1914) \nRavel’s Piano Trio was the last of his great pre-War scores. In fact\, he completed the piece in a rush to join the French army in the late summer of 1914 (thankfully\, for Ravel and posterity\, the army rejected him on grounds he was too slight of build to fight. He served in the Great War as an ambulance driver instead). There is\, perhaps in its closing pages\, a sense of the heady exuberance that greeted the outbreak of hostilities; otherwise the Trio stands as an astounding\, timeless creation that quickly established itself as one of the leading works in its genre. \nMuch of the music is informed by gestures found in folk music from Ravel’s native Basque region (he was sketching a piano concerto on Basque themes that he never finished around the same time he was composing the Trio). The first movement\, in fact\, begins with a Basque-ish rhythmic pattern: a three-plus-three-plus-two grouping that has the effect of completely obscuring the barline and any strong sense of meter. Both of the movement’s themes – the first narrow and chromatic\, the second folk-like and lyrical – try to counter that feeling\, but without complete success: it is a striking\, hypnotic movement in large part because of this wonderfully strange rhythmic groove. \nThe second movement\, “Pantoum\,” continues the play of rhythm while it adapts the Malaysian poetic form from which it derives its title into musical terms. Its two themes – the first\, choppy and staccato; the second\, a tempestuous waltz – alternate wildly before being interrupted by a broad\, expansive trio section. \nThe Trio’s third movement is perhaps as concise a passacaglia (variations on a bass line) as any composer wrote\, its ten variations building to a mighty climax before retreating into the sweeping\, orchestral-like hues of the finale. The latter wraps up this most phenomenal of chamber scores with gusto: in hindsight\, it forms an aptly shining close to the most remarkable chapter of Ravel’s career. \nMozart (1756-81) Piano Trio in G K496 \nThe piano trio\, as a genre\, is one of several love-children attributed to Mozart and Haydn. And indeed\, as with the string quartet\, both deserve some credit. While Haydn contributed prolifically to the genre — over the course of his forty trios\, you can feel the genre evolving beneath your very fingers — Mozart provided us with a more modest six. But there is nothing modest about their conception: these trios contain all the melodic abundance and formal perfection one would expect. The Piano Trio in G major\, KV496\, dates from 1786\, and is alternatively entitled “Sonata”: we are still so early in the genre’s history that its name has not yet properly landed. (Mozart’s first piano trio was entitled “Divertimento”.) Alongside its companion trio in B flat major\, KV502\, the work was composed for Mozart’s dear friends\, the Jacquin family. It is appropriate that so convivial a work should have emerged from so cherished a friendship\, and speaks of Mozart’s conception of the genre; later\, when three of Mozart’s trios were published\, he specified that they should be performed in “friendly\, musical\, social circles.” \nPaul Schoenfield (born 1976) Café Music. Second movement. \nThe next time you’re out to dinner\, and there’s a piano player providing live “background music\,” you might want to put an extra tip in the jar. You never know if that piano player is the next Paul Schoenfield. As Schoenfield explains the genesis of his best known work: \nThe idea to compose Café Music first came to me in 1985 after sitting in one night for the pianist at Murray’s Restaurant in Minneapolis. Murray’s employs a house trio which plays entertaining dinner music in a wide variety of styles. My intention was to write a kind of high-class dinner music — music which could be played at a restaurant\, but might also (just barely) find its way into a concert hall. The work draws on many of the types of music played by the trio at Murray’s. For example\, early 20th century American\, Viennese\, light classical\, gypsy\, and Broadway styles are all represented. A paraphrase of a beautiful Chassidic melody is incorporated in the second movement. \nAmalfi Trio \nAndrew Blankfield piano\, Emma Chamberlain cello\, Claire Parkin violin \n 
URL:https://abbeychamberconcerts.org/event/ravel-piano-trio-mozart-piano-trio-schoenfield-cafe-music/
LOCATION:St Nicolas’ Church\, Abingdon\, Oxon\, OX14 3HF\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://abbeychamberconcerts.org/wp-content/uploads/2021/10/ACE-trio.jpg
ORGANIZER;CN="Abbey Chamber Concerts":MAILTO:concerts@abbeychamberconcerts.org
END:VEVENT
END:VCALENDAR