Fidelio Trio and soprano Anna Devin will bring the festival to a close with a feast of classical favourites, including five of Beethoven's captivating Irish folk songs, his magnificent 'Archduke' Piano Trio, and Mozart's exquisite L’Amerò Sarò Costante. This finale promises to leave us whistling the melodious tunes of these classical titans as we depart Belvedere House.
Sunday, November 26, 2023
3:00 PM–5:00 PM
Belvedere House (map)
Programme
Ludwig van Beethoven, Irish Folk Songs for voice and piano trio (x5)
No. 12, The Catrine Woods
No. 39, How Dear to me the Hour
No. 53, Fly Not Yet
No. 54, Love’s Young Dream
No. 15, What can a young Lassie?
W.A. Mozart, 'L’Amero saro costante'
Ludwig van Beethoven, Piano Trio Op 97 in Bb – ‘Archduke’
Performers: Darragh Morgan (violin) | Tim Gill (cello) | Mary Dullea (piano) | Anna Devin (soprano)
Programme Notes
Ludwig van Beethoven, Irish Folk Songs for voice and piano trio
- The Catrine Woods (No. 12)
- How Dear to me the Hour (No. 39 )
- Fly Not Yet (No. 53)
- Love’s Young Dream (No. 54)
- What can a young Lassie? (No. 15 )
In 1809, a Scotsman, George Thomson (1757–1851), sent Beethoven a collection of Irish folk melodies to be set to music for piano trio and voice. With an eye to the domestic market in piano accompanied songs he sought to interest great names of the time to arrange the melodies. Beethoven had never visited Scotland or Ireland and the work was completed through letters which sometimes went as far astray as Turkey! When Thomson received the arrangements he realised that these were not mere arrangements but that ‘Beethoven has written these for posterity’. Thomson went on to commission several poets to write texts in English to accompany the arrangements, and five years later was able to publish his first set of Irish folksongs by Beethoven. The relationship between the Scottish impresario and Beethoven resulted in more than 150 song settings, from which we have selected five for tonight's recital.
W.A. Mozart, ‘L’amero, saro costante’ from Il Re Pastore, K 208
This aria is from Il Re Pastore (‘The Shepherd King’). It is a serenata – an 18th-century term for an unstaged or semi-staged cantata composed in honour of a patron or royal personage, in this case a visit to Salzburg by the son of the emperor Joseph II. In the opera’s greatest aria, “L’amerò, sarò costante (I will love her and be faithful)”, the shepherd king, Aminta, declares his undying feelings for Elisa as he struggles with the demands of love against the demands of kingship. A violin obligato adds elegance and eloquence to his song. At the time, Mozart was composing his five early violin concertos for his own performance, and it is likely that he played the violin part in Aminta’s aria at its first performance in 1775 in Salzburg.
Ludwig van Beethoven (1770-1827), Piano Trio in B flat Op. 97 ‘Archduke’ (1811)
At the first performance of this piano trio Beethoven’s spirits were high for both his health and his hearing had temporarily improved. He became once again a frequent habitué of plays, concerts, and other social gatherings. He even enjoyed playing the “Archduke” Trio with his friends. In fact, it was with this very piece that Beethoven the performer made his farewell to the stage at a charity concert in 1814 at the Hotel Zum Ritter Romischen Kaiser in Vienna.
The work is in four movements:
Allegro moderato
Scherzo & Trio: Allegro
Andante cantabile ma però con moto
Allegro moderato - Presto
The initial Allegro moderato shows a master completely at ease with large-scale sonata form. Its spacious opening theme flows smoothly and serenely before moving on to the staccato second subject with its pairs of descending phrases. The relatively traditional formal approach, conversational development, lush string and luxuriant keyboard writing engender a warmly expressive essay of great nobility.
This is followed by an energetic Scherzo, which is launched by a bouncy rhythmic figure played by the cello. The central Trio section is pure Beethoven, contrasting a veiled chromatic fugato with a dashing waltz.
The expansive Andante cantabile, with its hymn-like theme, is a set of variations, which evolve by thematic metamorphosis from within, the harmonic structure always carefully preserved.
The rather abrupt appearance of the jaunty rondo finale shatters the meditative spell. Its dancing Hungarian theme undergoes constant development. At the heart of this, yet another, texturally rich movement, the cello soars above keyboard tremolandos. Beethoven signs off with a presto coda.
Song Texts