RONEN CHAMBER ENSEMBLE

Program Notes for February 20, 2007

Wolfgang Amadeus Mozart (1756-1791): Piano Trio in C major, KV. 548

The Piano Trio in C major, KV. 548 was completed in July 1788, shortly before the completion of
the "Jupiter" Symphony No. 41, also in C major. It is remarkable that in a few months in the
summer of 1788, only a year after the death of his father, Mozart wrote his last three
symphonies, the culmination of his symphonic work! His last three piano trios were written
simultaneously. Burdened by his wife's serious illness, which added to his financial stress, these
last piano trios were published in an attempt to raise funds.

The trio has three movements and begins like the Symphony No. 41 with a fanfare "call for
attention," an unusual feature in a chamber music work for strings. The music that follows
seems predictable at first, but during the development section we are offered a glimpse into the
mind of a musical genius. The modulations, the descending chromatic lines and the marvelous
instrumental range create magical textures where shadow and light, pain and joy mingle.

The second movement, an Andante cantabile in F major, flows spaciously in 3/4 time and
is stirred by occasional rapidly fluttering passages. A sudden forte exclamation in unison
disrupts the tonal complacency, and what follows is unexpected harmonically and texturally. The
result is bold and hauntingly beautiful.

The third movement is a jovial "hunting" tune in a dancing 6/8 meter. Unlike the symphony it is
not contrapuntal in texture. An arpeggio figure of the main theme is passed around by all three
instruments.

In Mozart's hand the piano trio expanded beyond Haydn's model in that the cello was given
more prominence. (The old style more resembled a keyboard sonata with the cello doubling the
bass line and the violin embellishing the right hand.) In Mozart’s later trios, he created new
textures, among them setting the strings versus the piano, all adding interest and drama to the
piece.
Notes by Ingrid Fischer-Bellman

Robert Schumann (1810-1856): Sonata in A minor for Violin and Piano, Op. 105

Composer, pianist, writer, champion of younger composers, Robert Schumann was the
quintessential German Romanticist. Earlier in his career, he was known for picturesque piano
suites, then as a consummate and prolific song writer. In 1850, Schumann took the post of
general music director for the city of Düsseldorf. It was a challenging position for him as he was
never an outstanding conductor, and he was constantly at odds with the city’s orchestra and its
administrators. However, it was a remarkable time for his composition. During his brief tenure
there, he wrote all three of his violin sonatas and his third and fourth symphonies. Tortured
throughout his adult life by depression and mental illness, Schumann would be institutionalized
by 1854.

Written in 1851, the A minor Violin Sonata is a late work of Schumann’s. It is a true duo work,
with the piano sharing the limelight with the violin. The opening, translated “With Passionate
Expression”, is a rhapsodic movement which employs a common compositional device of
Schumann’s. His shifting modality between A minor and A major gives the impression of
variation, while all the same maintaining singular thematic material. The rhapsodic element is
conveyed through the agitated rhythmic undercurrent of 16th notes, underneath the dark and
tempestuous violin theme.

The serene second movement is folk-like in character and carries on in the nature of a gentle
Intermezzo. The opening theme is brought back at the end of the movement after a middle
section in which Schumann again transfigures thematic material using the major-minor modal
shift, this time between F major and F minor.

A compact finale, marked “Lively”, is constructed as a Rondo, where the primary theme in A
minor is set against a major-mode secondary theme. Although beginning in a minor mode, the
perpetual motion feels playful. The end of the movement surprises by recycling material from
the first movement. The interjection of the earlier dark theme makes for a highly dramatic finish.

Notes by Cathleen Partlow Strauss

Igor Stravinsky (1882-1971): Histoire du Soldat

During World War I Stravinsky, cut off from both his native Russia and the Paris of his earlier
successes, took refuge in Switzerland along with a great many other artists. His financial
situation, not surprisingly, soon took a turn for the worse. In 1917 he collaborated with the
French poet Ramuz to concoct a simple theatrical production. The idea was that it could be
mounted anywhere under the prevailing wartime conditions, and with that, Histoire du Soldat
was born. In composing the music, Stravinsky was forced to deal with a spare approach to
orchestration that would be reflected in many later works.

With only a narrator, actor, dancer, a minimal set, and a small ensemble consisting of clarinet,
bassoon, trumpet, trombone, violin, double bass and percussion, the new work toured widely
through his Swiss haven. Stravinsky made a conscious decision not to use a piano to avoid the
problem of procuring or maintaining an instrument as they moved from venue to venue and the
perception by the audience that the work was really for a larger ensemble that circumstances
required it be reduced for piano and a few other instruments. The production this evening will
not include a formal dancer.

The story owes much to the Faust legend, involves a Soldier for contemporary resonance,
addresses the larger questions of ART and the SOUL, and ends with a moral message of
universal appeal. The production is divided into two parts, beginning with the Soldier traveling
home on a two-week leave, his violin in his rucksack. He stops by a stream and begins to play
his violin. The Devil appears disguised as a butterfly collector—symbol of a soul-catcher—and
persuades the Soldier to trade his violin for a magic book which reveals the secret of great
wealth. He is taught the use of the book in exchange for violin lessons. Later, the Soldier grows
weary of his fortune and seeks to buy back his violin, only to find that it will no longer play for
him. Part I ends with the Soldier throwing the violin away in despair, tearing apart the magic
book and striking out at an aimless tramp on the open road.
In Part II, the Soldier happens upon a kingdom in mourning over a mysterious wasting sickness
of its Princess. The King offers to reward anyone who can restore her health with her hand in
marriage and a magnificent dowry. The Soldier, feeling he has nothing to lose, accepts the
challenge. In the palace, the Soldier once more encounters the Devil, this time disguised as a
virtuoso violinist set to win the Princess’s hand through the magic of his playing. The Soldier, in
an attempt to regain his violin, gambles with the Devil over a game of cards. The Devil can only
win at this game. In order to break the curse the Soldier realizes he can defeat the Devil by
losing all his remaining money. The Soldier wins back his violin and revives the Princess, who
dances for her savior. The Devil returns and antagonizes the Soldier but is rebuffed as the
Soldier plays his violin causing his nemesis to dance until he drops from exhaustion. The Devil
croaks out a promise of revenge. He triumphs over the Soldier when the man becomes
discontented with life in the palace and returns to the village of his youth in an attempt to
recapture the past. Ultimately, the Devil regains possession of the Soldier and his violin over the
plaintive cries of his wife.

Notes by David Gruender, © 2002