#violin cello piano trio

[migueldelaguila]

Rawlins Piano Trio 8-concerts tour program features Miguel del Aguila’s Tango Trio. Tuesday’s performance is also live streamed: also live stream: www.usd.edu/LiveMusic. Here info:

1/22/2023 Popplers Music Sioux Falls, SD

1/28/2023 Josephine Campbell Recital Hall Grand Forks, ND

1/31/2023 - 7:30pm also live stream: www.usd.edu/LiveMusic Colton Recital Hall Vermillion, SD

3/3/2023 Davis Hall-UNI Cedar Falls, IA

3/16/2023 Absolute Music Ch. Music Series Urban Beat Events Center Lansing, MI

3/18/2023 Purdue University Music Theater Fort Wayne, IN

3/19/2023 Deanery School of Music Davenport, IA

3/20/2023 University of Iowa Music Iowa City, IA

www.rawlinstrio.com

Ioana Galu, violin Sonja Kraus, cello  Susan Keith Leith, piano

Tags:

#Rawlins #PianoTrio #2023 #concerts #MigueldelAguila #TangoTrio #violin #cello #piano #performances #USA #contemporary #classical # Latin #American #composers #chambermusic

[gasparodasalo]

Franz Joseph Haydn (1732-1809) - Keyboard Trio in f-minor, Hob. XV:f1, III. Finale. Allegro. Performed by Trio 1790 on period instruments.

[musicollage]

Iiro Rantala String Trio — Anyone With A Heart.   2014 : ACT Music.

! listen @ Bandcamp ★ buy me a coffee !

[mikrokosmos]

Arensky - Piano Trio no.1 in d minor, op.32 (1894)

Updating an old post on this piece

Arensky’s first piano trio is one of those overlooked treasures in music. Not only is it by a less popular name, but it’s also a chamber piece, and for some reason chamber music is overlooked in favor of big symphonies or solo piano music. Written in the 1890s, the work is very lyrical, and the instruments flow with each other in a way that feels free form. The slow movement is something special; I first heard it [the first time I even heard of this work] at a chamber music recital given by some of the musicians at my college who were playing as part of their final. It was the highlight of the evening.

Because this "hidden gem" is full of gorgeous melodies, it has gotten more popularity recently and will hopefully inspire more musicians to keep it in the standard rep.

Movements:

1. Allegro moderato

2. Scherzo - Allegro molto

3. Elegia - Adagio

4. Finale - Allegro non troppo

[lavilladeste]

Felix Mendelssohn - Piano Trio No. 2 in C minor

[mrbacf]

Bruch: Piano Trio in C minor, Op. 5 (with Score)

[ayaneshindo]

バースデー・トリオ photo by Ayane Shindo

[rolflovesclassicalmusic]

Concert review, ★★★★★, Ilya Gringolts, Nicolas Altstaedt, Alexander Lonquich — Hans Huber-Saal, Stadtcasino, Basel, 2023-01-21 (Mizmorim Chamber Music Festival) — Debussy: Piano Trio in G major, L.5; Wolpe: From "Three Time Wedding" for Piano; Kodály: Duo for Violin and Cello, op.7; Bloch: "From Jewish Life" for Cello and Piano; Bloch: "Nigun" from "Baal Shem" for Violin and Piano; Korngold: Piano Trio in D major, op.1

[reva-lution]

Moonfam Music Analysis

This took a lot longer than expected, but I have finished a full analysis of Rayla, Runaan, and Ethari (a little bit of Tiadrin and Lain for specks of screentime they had) up till the end of season 6! Truth be told, I still need some time to begin analyzing season 7, especially since I wasn't expecting the direction they took with this narrative thread.

ENJOY!! Let me know if I missed anything, what you noticed in season 7, or what you would like me to analyze next! Thanks for your support!!! FULL ANALYSIS AT THE LINK BELOW ----------------------------------------------------------------------------

Thematic Foundations: “Heartbloom” as Rayla’s Family (popularly referred to as the Moonfam) Theme

“Heartbloom” emerges as a musical representation of Rayla’s connection to her found family (Runaan, Ethari, and by extension, herself). The theme’s tender, layered orchestration—featuring strings, piano, and flute—speaks to the deep emotional bonds within the Moonshadow elf family.

Instrumentation and Tonal Qualities: The consistent use of plucked strings in “Heartbloom” and its structural similarities to “Silvergrove” underscore its ties to Moonshadow culture and Rayla’s heritage. These instruments evoke the delicate yet resilient nature of her family, highlighting their fragility and strength amidst conflict.

Parallelism with “My Heart for Xadia”: The cello’s introduction in “My Heart for Xadia” mirrors “Heartbloom,” connecting the Moonfam’s story to larger themes of love and sacrifice. Both pieces resonate in F major, a key often associated with warmth and tenderness, grounding the emotional moments between characters.

“Because She’s Rayla”: A Personal Identity Theme

“Because She’s Rayla” is closely tied to Rayla’s individual growth and her struggle to balance familial expectations with her own sense of self. Its instrumentation (violin, cello, piano, and flute) aligns closely with “Heartbloom,” suggesting that her identity cannot be separated from her family.

In Season 6, Episode 5, as Rayla sings to Esmeray, the melody’s shifts between major and minor keys echo the interplay of hope and sorrow—a hallmark of both “Heartbloom” and “Because She’s Rayla.” This moment underscores Rayla’s emotional journey and her attempt to reconcile her familial connections.

Fast-Paced Themes: Action vs. Reflection

The fast-paced sequences in Rayla’s confrontations with Runaan highlight their strained relationship. The absence of “Heartbloom” in these moments reinforces the emotional distance and unresolved conflict between them. However:

In the moments when Runaan recalls Ethari or Rayla appeals to him directly, the music shifts—slowing and softening to reintroduce emotional intimacy. For example, in Season 6, Episode 9, Rayla’s plea (“I’m your daughter”) is underscored by “Because She’s Rayla,” signaling a breakthrough in their relationship.

Selective Use of “Heartbloom”

The sparing use of “Heartbloom” in scenes involving Tiadrin and Lain (e.g., Season 6, Episode 9) suggests that this theme is not tied to all familial bonds but specifically to Runaan, Ethari, and Rayla. This distinction highlights the lingering narrative significance of the Moonfam trio, leaving space for future exploration. Specifically, when Rayla is giving her final goodbyes to her parents in Season 6, Episode 9 the Heartbloom theme is completely absent, replaced by melodic vocals and a touch of Rayla’s personal theme.

Key Transformations: Death and Renewal

In Season 3, Episode 3, the minor key version of “Heartbloom” following the Ruthari kiss reflects themes of loss and transformation. This tonal shift parallels Runaan’s trajectory—his grief over Ethari and the Moonfam’s sacrifices. Similarly, in Season 4, Episode 8, as Rayla gifts the butterfly blades to Rex Igneous, “Because She’s Rayla” evolves subtly, mirroring her growth and the ongoing influence of her family’s legacy.

Moonshadow Elf Themes Across the Series

“Silvergrove”: The theme captures the essence of the Moonshadow elves’ homeland. Its reliance on plucked strings and sparse instrumentation reflects their stealth and detachment from the world. Yet, this detachment also signifies the loneliness and isolation that pervades Rayla’s story.

Scene Highlight – Season 3, Episode 3: The melancholy yet serene tone of “Silvergrove” mirrors the emotional weight of Rayla’s departure from her home and her sense of exile.

“My Heart for Xadia”: The opening strings of this piece resonate with “Heartbloom,” linking the broader struggle for Xadia to the personal sacrifices of the Moonshadow elves.

Scene Highlight – Season 6, Episode 9: Subtle echoes of “My Heart for Xadia” can be felt in the mystical glockenspiel tones during Rayla’s reunion with her parents, tying their personal sacrifices to the greater fight for Xadia.

Moon Nexus Motifs: The Moon Nexus themes feature gentle, cyclical melodies on flute and strings, symbolizing the perpetual cycles of the moon and the elves’ adherence to duty and time. These motifs subtly appear in moments of reflection or decision, such as Runaan’s imprisonment and Rayla’s moments of doubt.

Musical Motifs Across Episodes... link below :D

[migueldelaguila]

So happy to finally hear my new piano trio #Barroqueada #live performed by the talented Puget Sound Piano Trio who did its #WestCoast #premiere last night.Thank you Maria Sampen #violin Alistair MacRae, cellist and Ronaldo Rolim #piano for your amazing playing! If you missed this concert catch Barroqueada this Friday the 17th. by Reveron Piano Trio at #MusicInstituteofChicago Series #NicholsConcertHall, #Chicago

[gasparodasalo]

Ignaz Joseph Pleyel (1757-1831) - Piano Trio in e-minor, Ben 435, I. Allegro. Performed by Trio 1790 on period instruments.

[musicollage]

Mike Nock Trio + NZTrio — Vicissitudes. 2016 : Rattle.

! @ Apple Music ★ provide a coffee !

[kittybroker]

Update on the music situation! Sheet music is available here:

One of them is a piano trio. I didn't include parts because I think reading off main score is easier but I can get a separate violin and cello part if needed. If you do take a look at it or play it I would absolutely love to hear your thoughts. On the rare chance that someone would want to get a decent recording and would be fine with me using it that could also be cool. I've got one for the piano trio but am still waiting on permission from the performers for now.

For those who don't read music I have a soundcloud here:

A lot of old stuff and a lot of stuff I never finished or don't care about any more. A few quite nice pieces here.

My personal favourites from the set for the piano pieces are the 2nd and 3rd phantasmagoria. I've actually played the 2nd in a few concerts. The masquerade is a lot of fun but terribly difficult. I made the mistake of trying to give myself four weeks to get it to a performance level for a small concert. Of my older digital music I particularly like 'Eternal Clockwork Night' if you just want one of them to listen for.

I've got a few other projects upcoming I can share later, as well as some finished stuff I'm still waiting on being able to share (or can only share midi rendering from the notation software which suck).

[cuddlytogas]

it's possible I made an extended playlist to give context to the classical (non-technically speaking) music in OFMD, with the pieces listed in historical/chronological order, and in the context of their full pieces (mostly - I'm not literally going to put entire operas on there, but symphonies and concertos have mostly been finished)

and it's possible that that playlist is ten hours long

and it's possible you can find it on spotify right now, and that below the cut is the full chronology

(edit: corrections welcome btw!!!! i am by no means a music historian, nor have any higher level music education, just a lifelong association and interest <3 if you know better than me, PLEASE let me know so it can be more accurate!)

N: most of the Vivaldi pieces don't really have any dates I could find, so they're just sort of scattered through the first few decades of the 18th century. and yes, technically the opening Corelli isn't in there, but I think putting another La Folia in is important for the context of s2!

1700 - Arcangelo Corelli, Violin Sonata in D Minor, Op 5 No 12 "La Follia"

1703-6 - George Frederic Handel, Keyboard Suite No 4 in D Minor, HWV 437

? - Antonio Vivaldi, Cello Concerto in G Minor, RV 416

1711 - Antonio Vivaldi, Concerto No 11 in D Minor for Two Violins and Cello RV 565

1715 - Georg Philipp Telemann, Sonata for Violin and Basso Continuo in G Major TWV 41:G1

1718-20 - Antonio Vivaldi, The Four Seasons, Violin Concerto in G Minor Op 8

Early/mid C18 - Domenico Scarlatti, Keyboard Sonata in F Major, K 107

? - Antonio Vivaldi, Oboe Concerto in C, RV 452

1720s? - Antonio Vivaldi, Concerto for Two Cellos in G Minor, RV 531

1727 - Johann Sebastian Bach, Ich steh mit einem Fuß im Grabe, BWV 156

1725-35 - Georg Philipp Telemann, Concerto for Recorder and Viola da Gamba in A Minor TWV 52:a1

? - Antonio Vivaldi, Concerto in G Minor, RV 576

1730 - Johann Sebastian Bach, Orchestral Suite No 3 in D Major, BWV 1068

? - Antonio Vivaldi, Piccolo Concerto in A Minor, RV 445

? - Antonio Vivaldi, Trio Sonata in D Minor, RV 63, 'La Follia'

1738 - Johann Sebastian Bach, Harpsichord Concerto No 4 in A Major, BWV 1055

1738-9 - Johann Sebastian Bach, Concerto for Harpsichord, Strings, and Continuo No. 5 in F Minor, BWV 1056

Early/mid C18 - Domenico Scarlatti, Keyboard Sonata in E Major, K 380

1741 - Johann Sebastian Bach, Goldberg Variations, BWV 988

1747 - Johann Sebastian Bach, Musical Offering, BWV 1079

1747-8 - George Frederic Handel, Concerto in F Major, No 16, HWV 305a

1773 - Mozart, Symphony No 25 in G Minor, K 183

1782 - Mozart, String Quartet No 14 in G Major, K 387

1795 - Beethoven, Piano Sonata No 2 in A Major, Op 2 No 2

1792 - Beethoven, Piano Sonata No 3 in C Major, Op 2 No 3

1780 - Mozart, Symphony No 34 in C Major, K 338

1786 - Mozart, Le nozze di Figaro (excerpts)

1810? - Beethoven, Bagatelle in A Minor, WoO 59: Für Elise

1811-12 - Beethoven, Symphony No 7 in A Major, Op 92

1826 - Franz Schubert, Ständchen (Serenade) "Horch, horch, die Lerch!" D 889

1827 - Franz Schubert, 4 Impromptus, Op 90, D 899

1833-4 - Felix Mendelssohn, Lieder Ohne Worte, Book 2, Op 30

1835 - Frédéric Chopin, 12 Études, Op 25 (excerpts)

1838 - Robert Schumann, Kinderszenen, Op 15 (excerpts)

1838 - Franz Liszt, arr., 12 Lieder von Franz Schubert, S 558, No 9

1842 - Frédéric Chopin, Waltz No 12 in F Minor, Op 70, No 2

1871 - August Wilhelmj, arr., Air on a G String

1874 - Giuseppi Verdi, Messa da Requiem (excerpts)

1878 - Antonín Dvořák, String Sextet in A Major Op 48

1888-91 - Claude Debussy, Two Arabesques, L 66

1890 - Claude Debussy, Rêverie, L 68

1888, 89, 90 - Erik Satie, Trois Gymnopédies, Gnossienne No 5, Trois Gnossiennes

[manic-maniac-man]

HUgE September 2010

HAIDER ACKERMANN & JIL SANDER SPECIAL SHOW

SPECIAL REPORT from PITTI IMMAGINE UOMO 2011S/S

HAIDER ACKERMANN

SPRING/SUMMER 2011

"OPIUM" at PITTI IMAGINE MAN 78

Backstage at Haider Ackermann. There was a nice amount of tension in the relaxed atmosphere.

Pitti Immagine Uomo is a fashion fair held twice a year in Florence. This year marked the 78th time the fair has been held, and Jil Sander and Haider Ackermann held runway shows. Here we can see the breath of the creators who gathered in Italy.

Haider Ackermann's first men's collection

Haider Ackermann, a perennial favorite at Paris Fashion Week, was excited by the news that he would be presenting his first men's show at Pitti.

"When I visited the palace, I discovered a kind of abandoned, forgotten beauty. From there I developed ideas for this collection, especially for the women's line. On the other hand, I had a clear image in my mind for the men's line."

This time, Haider chose Palazzo Corsini, which faces Parione Street, overlooking the Arno River near the Ponte Vecchio, as the venue for the show. It was the atrium courtyard of the Baroque palace, the birthplace of the Renaissance. At 8 p.m. on June 16, in the dimly lit salon facing the courtyard, candles were lit in brass candlesticks, and tall silver cups were piled high with fruit, almost spilling out, like a Caravaggio still life. The tables were set up with dramatic use of light and shadow, as if bathed in light and emerging from the darkness, foreshadowing the theme of the show. With 30 minutes until the opening, several luxurious chandeliers were hanging in the venue as if they were floating in the air, nostalgically illuminating the runway, which was decorated with antique chairs and sofas.

The show was opened by Jamie Borchert, muse to top photographers and designers. The moment she appeared wearing a silk dress with a long train that traced the ground where a kimono was arranged, the venue fell silent and the audience was transported to another world. The show started with Jamie playing a trio of piano, violin, and cello in front of the grand piano placed in the center of the airy courtyard. The dancers slowly walked along the runway, matching their steps to the sweet and elegant melody.

Every time the models passed by the stingray, the generous amount of silk used caught the wind, creating lustrous and beautiful drapes, while the broadcloth sparkled as it reflected the light.

"I wanted to express in my own way the forgotten beauty of the great hall that appears in one scene of Giuseppe Verdi's 'La Traviata'," says Haider.

The collection, which was full of oriental elements, told a story of a mysterious traveling man and a woman abandoned in a deserted palace. The smooth silk, delicate hand-made embroidery, obi and babouche, and other oriental details made the look pirate-like and noble masculine. Leopard print, pajama-like striped pants, and clothes studded with elaborate decorations like medieval costumes presented decadent elegance and the spirit of the bohemian nomad. The man that inspired Haider was Helmut Berger, an actor discovered by the master Luchino Visconti.

"When I create a collection, I get inspired by looking closely at other people. But I need to look beyond the surface and see what's inside. I can only portray myself, and I can't portray things that I don't have. My past and memories unconsciously emerge."

What he really wanted to paint this time was his own "carnet de voyage" - a scrapbook of pure and essential beauty. He never wanted to pursue beauty, but was inspired by letters addressed to someone else and forgotten flowers, which became a part of him and were expressed as the image source for his work.

The show ended with a solo performance of "Knock in'on Heaven's Door" by Jamie. The applause never stopped in the venue.

JIL SANDER

SPRING/SUMMER 2011

"A CELEBRATION OF COLOR"

at PITTI IMMAGINE UOMO 78

A flash-colored look inspired by nature is presented against the backdrop of the setting sun and the greenery of the garden.

An hour when a miracle happened that seems too good to be true

On June 17th, Jil Sander's men's collection was unveiled against the backdrop of the beautiful natural surroundings of Villa Gamberaia, located on the outskirts of Florence. Unsettled weather continued over Florence. There was a sudden heavy rainstorm in the morning, and unseasonably cold rain fell several times towards the evening. In the midst of all this, Raf Simons chose an outdoor garden as the venue for his show. The show started at 8 p.m. Fortunately, the rain clouds cleared around 7:30 p.m., and the sky began to take on a vibrant sunset. The venue was already filled with media and press from around the world, gazing out at the breathtaking view from the hilltop with a glass of champagne in hand, and their expectations for the spectacle that was about to unfold were building. Everyone was transfixed by the evening sky from dusk until the curtains of night fell, sighing in amazement. The gradually darkening sky spread dramatic colors like a Botticelli painting, evoking the color palette used in this collection.

It was as if even the color of the sky had been meticulously directed. Everyone was left breathless by the spectacle that lasted just one hour, and the excitement for the spectacle reached a climax.

A flood of colours overflowing into the garden

The show began in a garden shrouded in darkness, with the hint of rain looming, as models appeared wearing clothes in vivid color combinations. Each piece, including voluminous coats, slim tailored pants that hugged the body, belted trench coats with colorful tapes and pleats on the backside, double-breasted blazers in lightly finished techno taffeta, and micro mini-length shorts, faithfully reproduced the sartorial silhouette, while the extreme colors brilliantly eliminated suit codes, presenting the ultimate modernism that is characteristic of Raf Simons. The color palette included vivid colors such as geranium, fuchsia, camellia, viola, iris, and lime grass. Original floral prints were created by combining several flowers, while traditional styles were used to create a more feminine look.

The collection brings bold colours to simple items, reinterpreting traditional sartorial techniques in a completely new way. The attention to materials, cuts and details is more clearly highlighted, and the silhouettes in rich fluorescent colours cast long shadows, creating a perfect contrast in the natural surroundings.

A unique designer who turns adversity into strength

Raf Simons showed a return to the brand's origins. Geometric graphics and artificial color blocks are by no means new ventures for him. The pleats on the back of the coat also recall past collections. However, as the heir to the history of Jil Sander, the beauty of tailoring he has established remains unwavering, and he always leaves a message that creativity is fun and requires contemplation. At the same time that the last model disappeared into the garden at the finale, the navy gray clouds that had been enveloping the sky broke their silence as if they could no longer bear it, and rained praise on the venue.