Recital: Yandi Chen '23 DMA, Piano

Mieczyslaw Weinberg | Piano Trio, op. 24

Präludium und Arie: Larghetto
Toccata: Allegro marcato
Poem: Moderato
Finale: Allegro moderato

Program note

Weinberg’s Piano Trio is a product of the War. At the time of its composition, Weinberg had only recently fled the Nazis from his native Poland to Russia. The opening Prelude is dramatic, almost inspiring, but with the Aria we are in territory. It becomes progressively starker and sparer before a final pizzicato. The Toccata, with its slashing piano chords, seems unstoppable, providing a perfect contrast to the opening of the Poem which follows. This is portentous and threatening, with more slashing piano chords followed by the cello and violin moving to a passionate but disturbing central section before the return of the opening piano chords. Weinberg’s last movement, is fugal, increasing to a wild dance, eventually combined with music from other movements.

Franz Schubert | Piano Trio No. 2 in E-flat Major, D. 929

Allegro
Andante con moto
Scherzo: Allegro moderato
Allegro moderato

Program note

The Piano Trio No. 2 is like others of the last works of Schubert in that it is expanded in length. This lengthening of playing time is due at least in part to Schubert’s remarkable gift of melody.
        The first movement sonata in moderate tempo is full of Schubertian lyricism and energy, with as many as six separate thematic ideas in the exposition alone. The quiet ending of the first movement leads perfectly to the second movement where the piano begins in C minor and the cello joins with a melancholy tune:According to one of Schubert's friends, this theme is based on a Swedish folk song that Schubert heard, the title of which is 'Se solen sjunker' (The sun is down). The second theme is of a more gentle character for contrast, but this theme reaches two climaxes that makes the ear question its true gentleness. These two themes alternate until the funeral march-like opening theme ends the movement. The theme of the third movement begins in the piano and is imitated by the violin and cello. The trio section is a more robust country dance that includes a reference to one of the themes of the first movement. The finale is a combination of rondo and sonata forms with no less than three additional melodies. Midway through, Schubert reintroduces the march theme from the second movement, reminding us of something important we may have forgotten. Now, at least four distinct themes weave in and out of a tapestry of dazzling color and virtuosity with music. For a final transformation of tremendous effect and compelling unity, Schubert returns to the march theme yet again, this time reborn in a final triumphant major key.

I would like to express my special thanks and gratitude to my teacher,
Ms. Vivian Weilerstein,
as well as the coach of my trio group,
Ms. Yeesun Kim Kitchen.

Also, I am deeply grateful to my two chamber partners,
Sophia Szokolay and Nathan Le.

It is truly my pleasure and honor to work with all of you.