Celebrating Brahms


Johannes Brahms
TRIO in A Minor for Clarinet, Cello and Piano, Op. 114

Johannes Brahms
TRIO in E-Flat Major for Horn, Violin and Piano, Op. 40

Paul Schoenfield
CAFÉ MUSIC for Violin, Cello and Piano (1986)


September 8, 2013 7:00 PM
First Baptist Church of Geneva
2300 South St., Geneva IL
September 11, 2013 7:30 PM
Columbia College Music Center Concert Hall
1014 S Michigan Ave, Chicago IL
September 22, 2013 7:30 PM
Music Institute of Chicago Nichols Hall
1490 Chicago Ave., Evanston IL


Gregory Flint, horn

Program Notes

“Celebrating Brahms” features two contrasting trios by the early 19th century German composer, written more than 25 years apart. Both reveal the composer’s emotional depth and intensity, as well as his superb musical craftsmanship and understanding of the varied instruments he used in combination.

In the Trio in E-Flat Major for Horn, Violin and Piano, Op. 40, Brahms honors his mother, who passed away shortly before he composed this work, as well as his father, with the use of his instrument, the horn. Other than the hauntingly beautiful Elegie, the movements have a youthful energy; the high sounds of the violin and horn, the characteristic folk and hunting-call motives associated with the horn and the rhythmic play between the instruments contribute to that aesthetic.

Brahms wrote the Trio in A Minor for Clarinet, Cello and Piano, Op. 114, after he had retired from composing. However, he was so moved after hearing clarinetist Richard Mühfeld he began to work on this trio. He juxtaposes themes in ways that sound inevitable, as are the imaginative combinations of sounds from the three instruments.

Also on the program is the edgy Café Music for Violin, Cello and Piano (1986) by Paul Schoenfield. The music of this Jewish American composer and pianist clearly shows his keen interest in jazz and the folk music of many cultures, particularly his Jewish roots. About Café Music he said, "My intention was to write a kind of high-class dinner music—music that could be played at a restaurant, but might also (just barely) find its way into a concert hall. Early 20th century American, Viennese, light classical, Gypsy and Broadway styles are all represented,” as well as a Hasidic melody.