WEDNESDAY, APRIL 28
Chamber musicians from the Bass School of Music at Oklahoma City University will present piano trios inspired by the ghosts of MacBeth and the music of Spain, as well as a work for an orchestra of 12 cellos at an 8 p.m. concert Thursday, April 29, at the Bass Music Center. Admission is free and open to the public.
Thursday’s concert will be the final ensemble performance of the 2009-10 season. It will open with Ludwig van Beethoven's Piano Trio No. 5 in D major, Opus 70 No. 1. The work, also known as the “Ghost” trio, is said to have been inspired by the spirits of Shakespeare's Macbeth.
Jill Jantzen, piano, will perform the work’s opening movement with Jessica McCrary, violin, and Jeremy Sheets, cello. The first movement -- Allegro vivace e con brio – is hallmarked by a fast-moving rhythmic figure played in a vigorous unison.
The two Op. 70 Trios, written in Heiligenstadt in 1808, fall between Beethoven’s Sixth and Seventh symphonies. Scholar Lewis Lockwood says the "Ghost" Trio: "raises the genre to a level from which the later piano trio literature could move forward." Soon, Beethoven would conceive chamber music on an even more symphonic scale.
The trio of Michele Esch, violin; Trent Brewer, cello; and Connor Murphy, piano will perform Joaquin Turina’s three-movement Piano Trio No. 2 in B minor, Op. 76. Written in 1933, the work is “lively, sparkling, evocative and concise…refreshing for its time, associating on one hand with the classical and romantic piano trio traditions, and, on the other, with the harmony, color and relaxed form of the more recent French and Spanish composers.”
Spanish elements pervade the piece in the form of melodic intervals, harmonic chord progressions and rhythmic patterns, including the middle movement scherzo written in a characteristic Spanish dance meter of 5/8.
Thursday’s program concludes with the second movement of Heitor Villa-Lobos’ Bachianas Brasileiras No.1 for Orchestra of Violoncelli, performed by the Oklahoma City University Cellovoce Ensemble, under the direction of Tomasz Zieba.
It is the first of nine suites the Brazilian composer wrote for various combinations of instruments and voices between 1930 and 1945. As a whole, the music represents “not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music.”
Members of Cellovoce: Jason Jupiterwala, Alejandro Acero Acosta, Patrick Bellah, Pola Benke, Carlie Goodwin, Josh Klossner, Josh Lester, Diana Ruffin, Jeremy Sheets, Summer Suffridge, Wesley Hornpetrie and Trent Brewer.
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