and luminous work to a close. Strong without heaviness, expressive 

without affectation, [this] trio is one of the most beautiful productions 

of French Art.”

Tchaikovsky wrote his Piano Trio in A Minor, Op. 50, to pay tribute to

his friend, the great Russian pianist Nicholas Rubinstein (1835-1881),

who was the founder and director ofthe Moscow Conservatory. In two

lengthy movements, Tchaikovsky unleashes a flood of emotions. Pezzo

elegaco:Moderatoassai is cast in sonata-allegro form with three contrasting

themes, as opposed to the usual two. The cello states the opening

theme, full of fervor and pensiveness, after which a bridgelike second 

theme that is livelier and more extroverted is stated by the piano.

There follows a deliciously bittersweet string duet between the violin

and the cello, one of Tchaikovsky’s most lyrical outpourings. The

recapitulation recalls the first and second themes in the major mode, 

followed by a return to the minor mode via a heavyhearted string duet.

The movement closes with a recall ofthe opening theme by the piano

in a distended configuration.

The trio’s second movement (A: Teniacon variazioni:Andanteconmoto;B:

Variazionefinale e coda:Allegro risoluto e confuoco) uses a theme that carries

a folk song flavor (Rubinstein was said to be fond offolk music). From 

this theme, Tchaikovsky constructs a series of variations that are not

only ingenious but emotional as well. Most notable among them are

the third {Allegro moderato), the sixth {Tempo di valse), and the tenth

{Tempodimazurka). The ninth variation carries a rare tempo indication,

Andantefiessibile, ma non tanto, hinting that Tchaikovsky may have been

frustrated with performers who carried expressiveness to an extreme.

After the main theme makes an emotional appearance in the form

of an epilogue, Tchaikovsky closes the trio with a tranquil marche

funebre as a final gesture of reverence for his late departed friend

and teacher.

Program notes by Elmer Booze

The use ofcameras or recording equipment

during theperformance is not allowed.

Forthe convenience ofconcertgoers

the Gat'den Cafe remains open until 6:30p.m.

The Fifty-eighth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2340th Concert

PARIS PIANO TRIO

REGIS PASQUIER, violin ROLAND PIDOUX, cello

JEAN-CLAUDE PENNETIER, piano

Sunday Evening, 12 March 2000

Seven O’clock

West Building, West Garden Court

Admissionfree
PROGRAM

Gabriel Faure

(1845-1924)

Piano Trio in D Minor

Op. 120 (1922-1923)

Allegro ma non troppo

Andantino

Finale

Maurice Ravel

(1875-1937)

Piano Trio in A Minor

(1914)

Modere

Pantoum: Assez vif

Passacaille: Tres large

Final: Anime

INTERMISSION

Piotr Ilyich Tchaikovsky Trio in A Minor

(1840-1893) Op. 50 (1882)

1. Pezzo elegiaco: Moderato assai

2A. Tema con variazioni: Andante con moto

2B. Variazione finale e coda: Allegro risoluto e con fuoco

Selectionsfrom concerts at the Gallery can be heard

on the second Sunday ofeach month at 9:00p.m. on WGMS-FM, 103.5.

During the month ofMarch, recentperformances by the

National Gallery Orchestra can be heard on Wednesdays at 9:00p.m.

on WETA-FM, 90.9.

When the members ofthe Paris Piano Trio formed their ensemble,

they were students at the National Conservatory ofMusic in Paris. All

three graduated with top honors and are now professors at the same 

institution. At the peak of their individual careers as solo performers,

they are making an increased commitment to the Trio, enjoying the

opportunity to express simultaneously their musical individuality and

combined musical rapport. The Trio has repeatedly toured in France,

England, Canada, and the United States. Recordings of the ensemble

include the trios of Schubert and Brahms, in addition to the chamber

music ofErnest Ghausson (1855-1899) on the Harmonia Mundi label,

underthe name bywhich theTrio is known in Europe, “Les Musiciens.”

The Paris Piano Trio appears at the National Gallery by arrangement

with Melvin Kaplan, Inc., ofBurlington, Vermont.

Faure’s Piano Trio in DMinor, Op. 120, was composed at the suggestion

of his editor, Jacques Durand (1865-1928), son of the founder of the

music publishing firm Durand & Cie. It was first performed in Paris in

May of 1923. Musicians and lovers of Faure’s music are in agreement

that its magic resides in the luminous, elusive beauty with which

the musical structures, melody, harmony, and counterpoint interact. 

The first movement {Allegro ma non troppo) is in classical sonata form,

with two developments and a coda that affirms the overall mood of

serenity. The second movement {Andantino) is set in A-B-A form,

with a first theme that is one of the most poetic and moving in the

piano trio literature. The second theme is centered around a ghostly

and evanescent syncopated melody that is carried by the piano. A

brief, rapid, and virtuosic Finale, cast in the form of a rondo with the

dancing lilt of a scherzo, brings this charming work to a lively and

brilliant conclusion.

Maurice Ravel was thirty-nine years old when he wrote what is now

considered his supreme chamber music masterpiece, the Triofor

Piano, Violin, and Cello in A Minor. The opening movement {Modere)

exploits an unusual rendition of common time (4/4). Ravel doubles the

time signature to 8/8 and divides the measure into 34-3+2, resulting 

in a pleasurable oscillation. The second movement {Pantoum: Assez

vif) invokes the texture of the pantum, a Malayan verse form that is

traditionally accompanied by strumming guitars. The third movement

{Passacaille: Treslarge) contains one of Ravel’s most inspired themes, as

beautiful as it is fascinating. The piano dominates the last movement

{Finale: Anime), carrying a message, according to music critic Edward 

Cole, “[that] the interpreter entrusted with this part must always

play frankly, in the spirit of a solo performer [who brings] this pure