THURSDAY AUGUST 21: SERENADE FOR SUMMER (7:00PM)
Josef Haydn (1732-1809)
Trio No. 3 in G Major Hob.IV: 3 (from "London Trios")
Joseph Haydn’s Trio No. 3 in G major, Hob. IV:3, is part of a set commonly known as the London Trios, composed during his visits to London in the early 1790s. These works reflect Haydn’s response to the growing popularity of chamber music in England and were written for amateur and professional musicians alike. The London Trios helped establish Haydn’s reputation in England beyond his well-known symphonies and string quartets, showcasing his ability to write accessible yet sophisticated music for smaller ensembles. This trio, along with the others in the set, played a key role in spreading Haydn’s influence and shaping the development of piano trio repertoire in the Classical era.
Eugène-Auguste Ysaÿe (1858-1931)
Sonata for Solo Violin in E Minor Op 27 No. 4
Eugène Ysaÿe composed his Six Solo Violin Sonatas in 1923, each dedicated to a prominent violinist of his time, with Sonata No. 4 honoring the legendary Fritz Kreisler. Written during a period when violin music was evolving rapidly, these sonatas reflect Ysaÿe’s deep understanding of the instrument and his desire to push its technical and expressive boundaries. Sonata No. 4 stands out for its blend of intense virtuosity and elegant lyricism, capturing Kreisler’s unique style. The set as a whole marked a turning point in solo violin repertoire, influencing generations of violinists by combining Romantic expressiveness with emerging modernist elements, and showcasing Ysaÿe’s role as both a performer and innovator.
Sophie Carmen Eckhardt-Gramatté
Duo for Two Violins E108
Dr. Sophie-Carmen Eckhardt-Gramatté (1899–1974) was a Russian-born composer, pianist, and violinist known for her intense, late-Romantic style and technical mastery. Trained in Paris and Berlin, she performed internationally on both violin and piano before turning primarily to composition in the 1930s. Her music, characterized by emotional intensity and complex polyphony, reflects a modern take on post-Wagnerian dissonance. After moving to Winnipeg in 1954, she remained an active composer, received numerous honors—including an honorary doctorate and the Diplôme d'Honneur—and was the subject of a CBC documentary shortly before her death.
This performance features a unique collaboration between the Winnipeg Symphony Orchestra’s past and current concertmasters!
Ernst von Dohnányi (1877-1960)
Serenade in C Major for String Trio Op. 10
Ernst von Dohnányi composed his Serenade in C major for String Trio, Op. 10, in the early 1900s while he was still a young composer and pianist in Budapest. This work reflects the influence of late Romantic and early 20th-century Hungarian musical traditions, blending lyrical melodies with classical forms. The Serenade was one of Dohnányi’s early successes and helped establish his reputation as a composer who balanced rich harmonic language with clear structural design. Written for violin, viola, and cello, the piece showcases Dohnányi’s skill in chamber music and his ability to create intimate, expressive dialogue among the instruments, setting the stage for his later, larger-scale compositions.
Josef Haydn (1732-1809)
Trio No. 3 in G Major Hob.IV: 3 (from "London Trios")
Joseph Haydn’s Trio No. 3 in G major, Hob. IV:3, is part of a set commonly known as the London Trios, composed during his visits to London in the early 1790s. These works reflect Haydn’s response to the growing popularity of chamber music in England and were written for amateur and professional musicians alike. The London Trios helped establish Haydn’s reputation in England beyond his well-known symphonies and string quartets, showcasing his ability to write accessible yet sophisticated music for smaller ensembles. This trio, along with the others in the set, played a key role in spreading Haydn’s influence and shaping the development of piano trio repertoire in the Classical era.
Eugène-Auguste Ysaÿe (1858-1931)
Sonata for Solo Violin in E Minor Op 27 No. 4
Eugène Ysaÿe composed his Six Solo Violin Sonatas in 1923, each dedicated to a prominent violinist of his time, with Sonata No. 4 honoring the legendary Fritz Kreisler. Written during a period when violin music was evolving rapidly, these sonatas reflect Ysaÿe’s deep understanding of the instrument and his desire to push its technical and expressive boundaries. Sonata No. 4 stands out for its blend of intense virtuosity and elegant lyricism, capturing Kreisler’s unique style. The set as a whole marked a turning point in solo violin repertoire, influencing generations of violinists by combining Romantic expressiveness with emerging modernist elements, and showcasing Ysaÿe’s role as both a performer and innovator.
Sophie Carmen Eckhardt-Gramatté
Duo for Two Violins E108
Dr. Sophie-Carmen Eckhardt-Gramatté (1899–1974) was a Russian-born composer, pianist, and violinist known for her intense, late-Romantic style and technical mastery. Trained in Paris and Berlin, she performed internationally on both violin and piano before turning primarily to composition in the 1930s. Her music, characterized by emotional intensity and complex polyphony, reflects a modern take on post-Wagnerian dissonance. After moving to Winnipeg in 1954, she remained an active composer, received numerous honors—including an honorary doctorate and the Diplôme d'Honneur—and was the subject of a CBC documentary shortly before her death.
This performance features a unique collaboration between the Winnipeg Symphony Orchestra’s past and current concertmasters!
Ernst von Dohnányi (1877-1960)
Serenade in C Major for String Trio Op. 10
Ernst von Dohnányi composed his Serenade in C major for String Trio, Op. 10, in the early 1900s while he was still a young composer and pianist in Budapest. This work reflects the influence of late Romantic and early 20th-century Hungarian musical traditions, blending lyrical melodies with classical forms. The Serenade was one of Dohnányi’s early successes and helped establish his reputation as a composer who balanced rich harmonic language with clear structural design. Written for violin, viola, and cello, the piece showcases Dohnányi’s skill in chamber music and his ability to create intimate, expressive dialogue among the instruments, setting the stage for his later, larger-scale compositions.
