Sabine Meyer, clarinete
Heinrich Schiff, violoncelo
Leif Ove Andsnes, Piano
Penha Longa Hotel & Golf Resort, 20 de Julho de 2005
Witold Lutoslawski
Prelúdios de Dança, para Clarinete e Piano
Grave: Metamorfoses, para Violoncelo e Piano
Ludwig van Beethoven
Sonata para Violoncelo e Piano nº 3, em Lá Maior, op. 69
Alban Berg
Quatro Peças para Clarinete e Piano, op. 5
Johannes Brahms
Trio para Clarinete, Violoncelo e Piano, em Lá menor, op. 114
Witold Lutoslawski (1913-1994)
Prelúdios de Dança para Clarinete e Piano, 1954
A clear, fresh tonality related to late Bartók.
Grave para Violoncelo e Piano, 1981
In his later works he evolved a more harmonically mobile, less monumental style, in which less of the music is played with an ad libitum coordination.
Ludwig van Beethoven (1770-1827)
Sonata para Violoncelo e Piano nº 3, 1808
Dedicated to baron Gleichenstein, is the most popular and at the same time the most loved cello sonata of the composer’s work. This is explainable through the diversity of the thematic material and the improvisational character of the themes.
Alban Berg (1885-1935)
Quatro Peças para Clarinete e Piano, 1913
Schoenberg was scathing of the Altenberg Songs, and Berg's response was to attempt in the Four Pieces for Clarinet and Piano, the kind of genuine aphorisms that his teacher and Webern had explored (12-note serialism). The pieces are exceedingly short (12,9,18, and 20 bars). The technical brilliance is undoubted (the pieces correspond to a four-movement classical sonata) but the results are completely sterile, especially when set alongside Webern's similar works. They are primarily interesting as a musical example of psychological dependence.
Johannes Brahms (1833-1897)
Trio para Clarinete, Violoncelo e Piano, 1891
For Brahms, the clarinet's mellow colouring lent itself splendidly to the ruminative and sometimes melancholy nature of his music. His use of the cello, in contradistinction to the viola in Mozart's K. 498, provides an overall darker colouring that is in keeping with the "autumnal" character that one hears even in Brahms's early music and which deepened over the years. "It is as though the instruments were in love with each other."
Serialismo (modernidade)
Witold Lutoslawski e Alban Berg (compositores século XX)
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