Beaux arts trio haydn biography
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Program: Beaux Arts Trio
"A trio is not three instruments; it is an instrument in itself."
The members of the Beaux Arts Trio, widely regarded as the gold standard of piano trios, were often described as “playing as one” in their heyday. With a legacy of 53 years on the stage and a huge discography of the entire standard piano trio repertoire to match, the trio must surely be credited for contributing to the proliferation of chamber ensembles world-wide this century, and the number of musicians who have to have chamber music as a vital strand of their professional creative life.
Violinist Wilma Smith, Musica Viva's Artistic Director of the Melbourne International Chamber Music Competition (MICMC) and Second Violinist of the Flinders Quartet says: "I grew up knowing of only one piano trio and that was the Beaux Arts. They were legendary and I was lucky enough to hear them a few times in person over the course of their long and distinguished career. For most musicians, professional and amateur, and certainly for me, chamber music is soul food."
The Beaux Arts Trio gave their first concert in 1955 at what is now the Tanglewood Festival, and their last in 2008. Despite personnel changes on the violin and cello over the decades the founding pianist,
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Abstract
"The juxtaposition of piano trios by Haydn, Mendelssohn, and Smetana on tonight's program provides an opportunity to reflect on the contrasting lifestyles of composers in history. During the eighteenth and nineteenth centuries, the role of the composer in society underwent a fundamental evolution, which may be characterized generally as a change from pragmatic servant to rather idealistic free agent. This transformation was, of course, strongly affected by an equally striking change in the nature of the music consumer. The relatively small number of aristocratic connoisseurs who sustained composers in the old order was augmented and overwhelmed by the more robust, if less refined, mass audience with middle-class values that supported concert life in the new century. The altered responsibility of the composer was a mixed blessing. Appealing to a large, somewhat diversified audience was a much different proposition than giving certain pleasure to a single patron. And yet the challenge had a liberating effect. Composers, especially after Beethoven, tended to become much more self-indulgent. Creating art not for a specific patron, not for specific musicians, not for a specific occasion, but for ideal performers and listeners--and, in effect, for posterity--entered the co
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Review by Revivalist Williams - June 7, 2009
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The setting of hobo three instruments, taped wrench the Concertgebouw, Amsterdam survey astonishingly dazzling and instant with a lovely refinement to description sound put off puts visit more fresh chamber recordings to shame.
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