TRIO FOR VIOLIN, CELLO, AND PIANO
TRIO FOR VIOLIN, CELLO, AND PIANO
violin, cello, piano
TRIO by James Yannatos, composed in 1994 for the Cantabile Trio, received its worldpremiere in November, 1995. The work, in D Major, is in three contrasting movements,with the third movement brining back material from the first movement, completing a fullcircle. Movement I, Allegro Vivo, is an energetic romp with 16th note scales tossedbetween the three instruments juxtaposed with longer lines accompanied by a tripletfiguration. The second contrasting section, Piu Peasante, plays the piano with chordsagainst the angular lines in the violin and cello. Tempo I (Allegro Vivo) returns withlonger lines accompanied by triplet figuration from Part I, followed by rapidjuxtapositions of Piu Peasante and Tempo I to conclude the movement with the pianoholding a chord into Movement II, which includes Cadenzi in the various instruments, amelodic Andante, a Minuet with alternating meters of ¾ 2/4, a Trio with short riffs, aMinuet da capo and Andante da capo, making a full circle. Final held tones in the violinand piano lead into Movement III, with a short introduction and an encapsulated return tomusical ideas from Movement I, forming a complete circle.
Authored (or revised): 1994
Book format: score
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TRIO by James Yannatos, composed in 1994 for the Cantabile Trio, received its worldpremiere in November, 1995. The work, in D Major, is in three contrasting movements,with the third movement brining back material from the first movement, completing a fullcircle. Movement I, Allegro Vivo, is an energetic romp with 16th note scales tossedbetween the three instruments juxtaposed with longer lines accompanied by a tripletfiguration. The second contrasting section, Piu Peasante, plays the piano with chordsagainst the angular lines in the violin and cello. Tempo I (Allegro Vivo) returns withlonger lines accompanied by triplet figuration from Part I, followed by rapidjuxtapositions of Piu Peasante and Tempo I to conclude the movement with the pianoholding a chord into Movement II, which includes Cadenzi in the various instruments, amelodic Andante, a Minuet with alternating meters of ¾ 2/4, a Trio with short riffs, aMinuet da capo and Andante da capo, making a full circle. Final held tones in the violinand piano lead into Movement III, with a short introduction and an encapsulated return tomusical ideas from Movement I, forming a complete circle.
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