Versatile Beethoven

Sint-Pietersplein 1 - 3071 Kwerps
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Versatile Beethoven

LUDWIG VAN BEETHOVEN

Sonata No. 3 for cello and piano in A
Frühlingssonate for violin and piano in F
Geister Trio

Trio Khaldei celebrates Beethoven's 250th birthday with three programs that illustrate the composer's variety of composition styles.


Versatile Beethoven

Kerkwegel - 9090 Melle
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Versatile Beethoven

LUDWIG VAN BEETHOVEN

Sonata No. 3 for cello and piano in A
Frühlingssonate for violin and piano in F
Geister Trio

Trio Khaldei celebrates Beethoven's 250th birthday with three programs that illustrate the composer's variety of composition styles.


Versatile Beethoven

Kerkwegel - 9090 Melle
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Versatile Beethoven

LUDWIG VAN BEETHOVEN

Sonata No. 3 for cello and piano in A
Frühlingssonate for violin and piano in F
Geister Trio

Trio Khaldei celebrates Beethoven's 250th birthday with three programs that illustrate the composer's variety of composition styles.


Versatile Beethoven

Bolwerkstraat 17 - 1800 Vilvoorde
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Versatile Beethoven

LUDWIG VAN BEETHOVEN

Variations on Bei Männer, welche Liebe fühlen for cello and piano
Frühlingssonate for violin and piano
Geister Trio

Trio Khaldei celebrates Beethoven's 250th birthday with three programs that illustrate the composer's variety of composition styles.


Trio Khaldei likes to extend the boundaries of the trio set-up and brings together in this program pieces for violin and cello, violin and piano, cello and piano and one of Beethoven's most popular piano trios: the Geister Trio. This program gives a wide picture of the evolution in Beethoven's composition style, from classic to revolutionary romantic.

The Sonata for violin and piano Op. 24a was given the nickname "Springsonata" (Frühlingssonate) after the death of the composer, because of the elegance and joy of life that transpire from it. Once more, Mozart is not far away, but Beethoven experiments with the form: this is the first sonata in four movements instead of the usual three.

The third Cello Sonata and the Geister Trio - both composed in 1808 - are clearly from a mature composer who has found his own voice. Beethoven looked for a long time for the right balance between cello and piano, and in the manuscript we can literally see Beethoven trying to find the ideal distribution of the melodic material between both instruments.

The Geister trio owes its name to Beethoven's pupil Carl Czerny, who wrote that the slow movement reminded him of the ghost scene from Shakespeare's Hamlet. About the trio, E.T.A. Hoffmann wrote : "this music proves that Beethoven’s music has a romantic soul, that resonates in a highly personal, thoughtful and brilliant way."

Versatile Beethoven

Kerkwegel - 9890 Gavere
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Versatile Beethoven

LUDWIG VAN BEETHOVEN

Sonata No. 3 for cello and piano in A
Frühlingssonate for violin and piano in F
Geister Trio

Trio Khaldei celebrates Beethoven's 250th birthday with three programs that illustrate the composer's variety of composition styles.


family business #1 Robert & Clara Schumann

Kern 18 - 2610 Wilrijk
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family business #1 Robert & Clara Schumann

C. Schumann Trio in g
R. Schumann Trio No. 1 in d

Inaugurating its "Family Business" series, Trio Khaldei dedicates some programs in the following seasons to a few families of musicians, starting with Robert and Clara Schumann. They shared years of love and pain, exercised reciprocal influence and were for one another a never ending source of inspiration. 


Clara’s Piano Trio, composed in 1846, is generally considered as one of her finest works. At the time, Robert and Clara were intensively studying Bach's music, inspiring Clara to develop a particular sense of counterpoint in this Trio.

Robert wrote his first Piano Trio in 1847, inspired by the one Clara had composed a year earlier. This trio announces a big change in Robert’s composition style, becoming more intellectual, more architectural. He wrote about this : "Before, I was composing almost all my short works in a wave of inspiration. From the year 1845, when for the first time I first elaborated everything mentally, I developed a new style of composition”. A new style that remains very intuitively expressive, traditional in form, but at the same time shows a great inventiveness in the way he eludes the "problems" associated with classical forms.

Symphonic Beethoven

Dorp 58 - 3920 Lommel
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Symphonic Beethoven

L.v. Beethoven Archduke Trio
F. Mendelssohn Symphony No. 4 Italian in A
II. Andante con moto ‐ III. Con moto moderato

L.v. Beethoven Symphony No. 7 in A

Trio Khaldei celebrates Beethoven's 250th birthday with three programs that illustrate the composer's variety of composition styles.


Versatile Beethoven

Paul Snoekstraat 1 - 9100 Sint-Niklaas
google map website

Versatile Beethoven

LUDWIG VAN BEETHOVEN

Duo in C for violin and cello
Sonata No. 3 for cello and piano in A
Frühlingssonate for violin and piano in F
Geister Trio

Trio Khaldei celebrates Beethoven's 250th birthday with three programs that illustrate the composer's variety of composition styles.


Trio Khaldei likes to extend the boundaries of the trio set-up and brings together in this program pieces for violin and cello, violin and piano, cello and piano and one of Beethoven's most popular piano trios: the Geister Trio. This program gives a wide picture of the evolution in Beethoven's composition style, from classic to revolutionary romantic.

Beethoven originally composed his Duo in C for clarinet and bassoon ; we play the arrangement for violin and cello by F. Hermann. It is not known when Beethoven wrote this work, but it’s clearly an early work in which the influence of Haydn and Mozart is still easily audible.

The Sonata for violin and piano Op. 24a was given the nickname "Springsonata" (Frühlingssonate) after the death of the composer, because of the elegance and joy of life that transpire from it. Once more, Mozart is not far away, but Beethoven experiments with the form: this is the first sonata in four movements instead of the usual three.

The third Cello Sonata and the Geister Trio - both composed in 1808 - are clearly from a mature composer who has found his own voice. Beethoven looked for a long time for the right balance between cello and piano, and in the manuscript we can literally see Beethoven trying to find the ideal distribution of the melodic material between both instruments.

The Geister trio owes its name to Beethoven's pupil Carl Czerny, who wrote that the slow movement reminded him of the ghost scene from Shakespeare's Hamlet. About the trio, E.T.A. Hoffmann wrote : "this music proves that Beethoven’s music has a romantic soul, that resonates in a highly personal, thoughtful and brilliant way."

Weinberg

Rue Ducale 1 - 1000 Brussels
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Weinberg

Mieczyslaw Weinberg

Trio op.24

Quintet for piano and strings op.18
    Silesian Quartet, Victor Chestopal - piano


Two works of exceptional vitality written by a young composer, an exceptional pianist, who had, not long before, become a close friend of Shostakovich.
A mark of respect from Weinberg to his elder, the Trio op 24 begins with a masterful neoclassical Prelude. The Toccata with its exhilarating speed, the Poem of a dreamy lyricism, the Finale with its multiple characters: 4 unique movements creating an astonishing unity.
The Quintet op 18 testifies to Weinberg’s creative power. Serene melodies, naive marches, old-fashioned refrains, cabaret waltzes, Irish jigs, driving round dances… these ingenious elements are skilfully orchestrated and interwoven, and the five movements are always very convincing to the listener.

family business #1 Robert & Clara Schumann

Forum 9 - 2870 Puurs
google map website

family business #1 Robert & Clara Schumann

C. Schumann Trio in g
R. Schumann Trio No. 1 in d

Inaugurating its "Family Business" series, Trio Khaldei dedicates some programs in the following seasons to a few families of musicians, starting with Robert and Clara Schumann. They shared years of love and pain, exercised reciprocal influence and were for one another a never ending source of inspiration. 


Clara’s Piano Trio, composed in 1846, is generally considered as one of her finest works. At the time, Robert and Clara were intensively studying Bach's music, inspiring Clara to develop a particular sense of counterpoint in this Trio.

Robert wrote his first Piano Trio in 1847, inspired by the one Clara had composed a year earlier. This trio announces a big change in Robert’s composition style, becoming more intellectual, more architectural. He wrote about this : "Before, I was composing almost all my short works in a wave of inspiration. From the year 1845, when for the first time I first elaborated everything mentally, I developed a new style of composition”. A new style that remains very intuitively expressive, traditional in form, but at the same time shows a great inventiveness in the way he eludes the "problems" associated with classical forms.

Shostakovich & Prokofiev

Wolvestraat 37 - 9600 Ronse
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Shostakovich & Prokofiev

S. Prokofiev Ballade 
S. Prokofiev 5 Mélodies 
D. Shostakovich Trio No.1 in C 
D. Shostakovich Trio No.2 in e 

The programme from our first CD. Two magnificent but under-performed duos by Prokofiev, the first early trio by Shostakovich and his captivating second trio, a favourite in Trio Khaldei’s repertoire.

The Piano Trio No. 1 is one of Shostakovich’s true early works and is filled with the romanticism and passion of the composer’s first amorous encounter. This short, one-movement piece contains many features characteristic of Shostakovich’s later works, such as snatches of humour, agitated piano passages, persistent chordal passages and sometimes uncomfortable dissonances but these give way to two extended melodies juxtaposing lyricism and exasperated anticipation.

Little of this romantic vigour remains in the second Piano Trio, a product not of love, but of war. The full sound of the cello in the first trio is markedly different from the fragile and barely audible introduction, played by the cello in harmonics, to the second trio. The work leaves a haunting void in its wake; an emptiness that Shostakovich himself experienced when one of his most versatile and brilliant friends, Ivan Sollertinsky, passed away while the trio was being composed. It is to Sollertinsky that the trio is dedicated, making this masterpiece almost a requiem.

The atmosphere created in the two Prokofiev pieces presented here is more in keeping with that of Shostakovich’s Trio No. 1. This is definitely true in the case of the Ballade for Cello and Piano, one of Prokofiev’s early works. It was written in 1912, when the composer was 21. This one-movement work also has a poetic French title (Shostakovich’s Trio No. 1 was originally entitled Poème), and this immediately gives a narrative element to the music, even if it is not explicit. As is often the case in ballades, the music transports the listener from one atmosphere to the next, punctuating the journey with repeated melodic motifs.

The Five Melodies for Violin and Piano (1925) is an unusual work. The piece was originally written in 1920 for piano and voice without words, using the title ‘Songs without Words’ in its strictest sense. It is precisely this absence of text that makes these pieces so easily adaptable to other instruments. Prokofiev himself arranged a version for violin, at the request of Pavel Kockansky, to whom he dedicated three of the five melodies. 
Text Pieter Bergé

Roots

Koningin Wilhelminalaan 53 - 8384 Wihelminaoord
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Roots

J.N. Hummel Trio in F
Z. Kodály Duo for violin and cello
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Zoltán Kodály’s Duo Op. 7, composed in 1914, represents a glorious fusion of elements of Hungarian folklore with more formal structures of Western Classical music. Kodaly spent part of his life travelling across the Hungarian countryside with Béla Bartók, collecting, gathering and analysing the melodies of the people.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

Roots

A. Weizenbergi 37 - 10127 Tallinn
google map

Roots

J.N. Hummel Trio in F
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

Roots

Hendrik Serruyslaan 18a - 8400 Oostende
google map website

Roots

J.N. Hummel Trio in F
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

Roots

Zwarte Dreef 2 - 9120 Beveren
google map website

Roots

J.N. Hummel Trio in F
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

Roots

Molenhoekstraat 2 - 2400 Mol
google map

Roots

J.N. Hummel Trio in F
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

Roots

Place du XX Août 7 - 4000 Liège
google map website

Roots

J.N. Hummel Trio in F
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

Shostakovich & Prokofiev

Biezekapelstraat 9 - 9000 Gent
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Shostakovich & Prokofiev

S. Prokofiev Ballade 
S. Prokofiev 5 Mélodies 
D. Shostakovich Trio No.1 in C 
D. Shostakovich Trio No.2 in e 

The programme from our first CD. Two magnificent but under-performed duos by Prokofiev, the first early trio by Shostakovich and his captivating second trio, a favourite in Trio Khaldei’s repertoire.

The Piano Trio No. 1 is one of Shostakovich’s true early works and is filled with the romanticism and passion of the composer’s first amorous encounter. This short, one-movement piece contains many features characteristic of Shostakovich’s later works, such as snatches of humour, agitated piano passages, persistent chordal passages and sometimes uncomfortable dissonances but these give way to two extended melodies juxtaposing lyricism and exasperated anticipation.

Little of this romantic vigour remains in the second Piano Trio, a product not of love, but of war. The full sound of the cello in the first trio is markedly different from the fragile and barely audible introduction, played by the cello in harmonics, to the second trio. The work leaves a haunting void in its wake; an emptiness that Shostakovich himself experienced when one of his most versatile and brilliant friends, Ivan Sollertinsky, passed away while the trio was being composed. It is to Sollertinsky that the trio is dedicated, making this masterpiece almost a requiem.

The atmosphere created in the two Prokofiev pieces presented here is more in keeping with that of Shostakovich’s Trio No. 1. This is definitely true in the case of the Ballade for Cello and Piano, one of Prokofiev’s early works. It was written in 1912, when the composer was 21. This one-movement work also has a poetic French title (Shostakovich’s Trio No. 1 was originally entitled Poème), and this immediately gives a narrative element to the music, even if it is not explicit. As is often the case in ballades, the music transports the listener from one atmosphere to the next, punctuating the journey with repeated melodic motifs.

The Five Melodies for Violin and Piano (1925) is an unusual work. The piece was originally written in 1920 for piano and voice without words, using the title ‘Songs without Words’ in its strictest sense. It is precisely this absence of text that makes these pieces so easily adaptable to other instruments. Prokofiev himself arranged a version for violin, at the request of Pavel Kockansky, to whom he dedicated three of the five melodies. 
Text Pieter Bergé

Shostakovich & Prokofiev

Kasteeldreef 61 - 2900 Schoten
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Shostakovich & Prokofiev

S. Prokofiev 5 Mélodies Op.35b
D. Shostakovich Trio No.1 in C Op.8
D. Shostakovich Trio No.2 in e Op.67

The programme from our first CD. Two magnificent but under-performed duos by Prokofiev, the first early trio by Shostakovich and his captivating second trio, a favourite in Trio Khaldei’s repertoire.

The Piano Trio No. 1 is one of Shostakovich’s true early works and is filled with the romanticism and passion of the composer’s first amorous encounter. This short, one-movement piece contains many features characteristic of Shostakovich’s later works, such as snatches of humour, agitated piano passages, persistent chordal passages and sometimes uncomfortable dissonances but these give way to two extended melodies juxtaposing lyricism and exasperated anticipation.

Little of this romantic vigour remains in the second Piano Trio, a product not of love, but of war. The full sound of the cello in the first trio is markedly different from the fragile and barely audible introduction, played by the cello in harmonics, to the second trio. The work leaves a haunting void in its wake; an emptiness that Shostakovich himself experienced when one of his most versatile and brilliant friends, Ivan Sollertinsky, passed away while the trio was being composed. It is to Sollertinsky that the trio is dedicated, making this masterpiece almost a requiem.

The atmosphere created in the two Prokofiev pieces presented here is more in keeping with that of Shostakovich’s Trio No. 1. This is definitely true in the case of the Ballade for Cello and Piano, one of Prokofiev’s early works. It was written in 1912, when the composer was 21. This one-movement work also has a poetic French title (Shostakovich’s Trio No. 1 was originally entitled Poème), and this immediately gives a narrative element to the music, even if it is not explicit. As is often the case in ballades, the music transports the listener from one atmosphere to the next, punctuating the journey with repeated melodic motifs.

The Five Melodies for Violin and Piano (1925) is an unusual work. The piece was originally written in 1920 for piano and voice without words, using the title ‘Songs without Words’ in its strictest sense. It is precisely this absence of text that makes these pieces so easily adaptable to other instruments. Prokofiev himself arranged a version for violin, at the request of Pavel Kockansky, to whom he dedicated three of the five melodies. 
Text Pieter Bergé

Shostakovich & Prokofiev

Rue Jean Tiebackx 14 - 1090 Jette
google map

Shostakovich & Prokofiev

S. Prokofiev 5 Mélodies Op.35b
D. Shostakovich Trio No.1 in C Op.8
D. Shostakovich Trio No.2 in e Op.67

The programme from our first CD. Two magnificent but under-performed duos by Prokofiev, the first early trio by Shostakovich and his captivating second trio, a favourite in Trio Khaldei’s repertoire.

The Piano Trio No. 1 is one of Shostakovich’s true early works and is filled with the romanticism and passion of the composer’s first amorous encounter. This short, one-movement piece contains many features characteristic of Shostakovich’s later works, such as snatches of humour, agitated piano passages, persistent chordal passages and sometimes uncomfortable dissonances but these give way to two extended melodies juxtaposing lyricism and exasperated anticipation.

Little of this romantic vigour remains in the second Piano Trio, a product not of love, but of war. The full sound of the cello in the first trio is markedly different from the fragile and barely audible introduction, played by the cello in harmonics, to the second trio. The work leaves a haunting void in its wake; an emptiness that Shostakovich himself experienced when one of his most versatile and brilliant friends, Ivan Sollertinsky, passed away while the trio was being composed. It is to Sollertinsky that the trio is dedicated, making this masterpiece almost a requiem.

The atmosphere created in the two Prokofiev pieces presented here is more in keeping with that of Shostakovich’s Trio No. 1. This is definitely true in the case of the Ballade for Cello and Piano, one of Prokofiev’s early works. It was written in 1912, when the composer was 21. This one-movement work also has a poetic French title (Shostakovich’s Trio No. 1 was originally entitled Poème), and this immediately gives a narrative element to the music, even if it is not explicit. As is often the case in ballades, the music transports the listener from one atmosphere to the next, punctuating the journey with repeated melodic motifs.

The Five Melodies for Violin and Piano (1925) is an unusual work. The piece was originally written in 1920 for piano and voice without words, using the title ‘Songs without Words’ in its strictest sense. It is precisely this absence of text that makes these pieces so easily adaptable to other instruments. Prokofiev himself arranged a version for violin, at the request of Pavel Kockansky, to whom he dedicated three of the five melodies. 
Text Pieter Bergé

Roots

Bergensesteenweg 145 - 1070 Anderlecht
google map website

Roots

J.N. Hummel Trio in F
Z. Kodály Duo for violin and cello
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Zoltán Kodály’s Duo Op. 7, composed in 1914, represents a glorious fusion of elements of Hungarian folklore with more formal structures of Western Classical music. Kodaly spent part of his life travelling across the Hungarian countryside with Béla Bartók, collecting, gathering and analysing the melodies of the people.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

Roots

Bemuurde Weerd OZ 13 - 3514 Utrecht
google map website

Roots

J.N. Hummel Trio in F
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

Roots

Bethaniestraat 4 - 5211 LJ 's-Hertogenbosch
google map

Roots

J.N. Hummel Trio in F
F. Martin Trio sur des mélodies populaires irlandaises
A. Dvorak Trio Dumky

For centuries, composers have been inspired by popular music of every kind, borrowing elements, motifs and themes for use in their own ‘art music’.

Joseph Haydn, the ‘father’ of the string quartet, wrote 45 piano trios! Here is his most well known trio, known as alla zingarese, or the Gypsy. In the last movement, entitled Rondo alla zingarese by Haydn himself, the composer uses many elements that come from Gypsy musicians that he met in Esterhazy’s court.

Commissioned in 1925 by a rich American amateur musician of Irish origin, Frank Martin’s Trio sur des mélodies populaires irlandaises is based on popular Irish folk tunes. It is inspired by previously unpublished ancient melodies that come from dances as well as songs.

Antonin Dvořak was happy to let traditional Slavic music influence his work. These influences can be seen in one of the favourites of the piano trio repertoire, the Dumky trio. Dumky, plural of dumka, is a diminutive form of the term duma, which refers to epic ballads, specifically a song or lament of captive people. During the 19th Century, Slavic composers used the term duma to indicate a brooding, introspective composition interspersed with cheerful and light sections.

WWI

Kammenstraat 81 - 2000 Antwerp
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WWI

C. Debussy Sonata for violin and piano
G. Enesco Trio in a
M. Ravel Trio in a

2018 marks the end of the centenary of the Great War. Here are some of the most beautiful chamber works of the 20th Century, written during this tumultuous period of history.

Claude Debussy composed his Sonata for Violoncello and Piano in a couple of days during the summer of 1915. A title considered for the work was “Pierrot faché avec la lune” (Pierrot argues with the moon. Pierrot here refers to a character from 18th Century French theatre.) Although its form is pure and traditional, the Cello Sonata has an unmistakeably theatrical dimension, evoking a world of humour, sarcasm and fantasy.

Two years later, the composer wrote his Sonata for Violin and Piano, equally as concise as the Cello Sonata, and Debussy’s last major work before his death in 1918. Of the Violin Sonata, Debussy wrote, “This Sonata will be interesting from a documentary point of view and as an example of what may be produced by a sick man in time of war. I dedicate it to those who can read between the staves!”

George Enescu, a Romanian violinist and composer who spent around 60 years in Paris, was one of the best violinists of his time. His music is a wonderful mixture of French impressionism and elements from the popular music of his homeland, as shown in his Trio in a, composed in 1916.

Called to the battlefront in 1914, Maurice Ravel wrote his Piano Trio in a great hurry. In a letter to Stravinsky, he confided that this rushed departure pushed him to write in five weeks a work that should have taken five months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music. #The inspiration for this work’s musical content comes from different backgrounds, from the Basque dance of the first movement to the Malaysian poetry of the second. Ravel’s genius reveals itself in the way he introduces these elements within the classical four-movement framework.

Vienna

Wespelaarsesteenweg 85 - 3150 Haacht
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Ten Bogaerdelaan 12 - 8670 Koksijde
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Sint-Bavostraat 19 - 8710 Wielsbeke
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Vienna

W.A. Mozart Trio in Bes
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, the Khaldei Trio returns to the origins of the piano trio. It was actually in the age of Mozart and Haydn that the genre of the piano trio as we know it now, appeared first. Mozart's Trio KV502 marks a turning point in the evolution of this form: from a more solistic piano part with the violin and violoncello in an accompanying role, it has arrived at a point where the three instruments converse on an equal basis.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Zuidervest 2a - 3990 Peer
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

August Nihoulstraat 76 - 3270 Scherpenheuvel
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Grote Markt - 2200 Herentals
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Jacques Morrensplein 2 - 2820 Bonheiden
google map website

Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Kattestraat 2 - 9230 Wetteren
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Colours

Rue Ravenstein 23 - 1000 Brussels
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Colours

F. Celis Trio op.5
J. Jongen Trio in b op.10
 - II. Andante molto sostenuto
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Colours

chaussée de Namur, 100 - 1315 Incourt
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Colours

F. Celis Trio Op.5
J. Jongen Trio in b Op.10
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work, which is in three movements.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Colours

Nieuwdreef 135 - 2170 Merksem
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Colours

F. Celis Trio op.5
J. Jongen Trio in b op.10
 - II. Andante molto sostenuto
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Symphonic

Kammenstraat 81 - 2000 Antwerpen
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Symphonic

D. Shostakovich Trio No. 2
D. Shostakovich Symphonie No. 15 (arr. V. Derevianko)

with Trio Triatu

Trio Khaldei offers a new perspective on two major works of the symphonic repertoire, and revives a custom that was very popular up to the start of the 20th century – that of arrangement, allowing the audience to discover or rediscover these masterpieces.

In this unique programme, Trio Khaldei brings new life to an old tradition. Before the invention of the gramophone, there were only two ways by which to listen to and discover music: going to concerts or playing an instrument oneself.

Up to well into the 20th century, the great symphonic works used to be transcribed or orchestrated for various chamber formations. In this way, they found their niche in private salons, in rooms of smaller dimensions or on stages devoted to chamber music performance. For the composers, it was a terrific way of having their music heard.

 

Symphonic

Charles Deberiotstraat 24 - 3000 Leuven
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Symphonic

D. Shostakovich Trio No. 2
D. Shostakovich Symphonie No. 15 (arr. V. Derevianko)

with Trio Triatu

Trio Khaldei offers a new perspective on two major works of the symphonic repertoire, and revives a custom that was very popular up to the start of the 20th century – that of arrangement, allowing the audience to discover or rediscover these masterpieces.

In this unique programme, Trio Khaldei brings new life to an old tradition. Before the invention of the gramophone, there were only two ways by which to listen to and discover music: going to concerts or playing an instrument oneself.

Up to well into the 20th century, the great symphonic works used to be transcribed or orchestrated for various chamber formations. In this way, they found their niche in private salons, in rooms of smaller dimensions or on stages devoted to chamber music performance. For the composers, it was a terrific way of having their music heard.

 

Colours

Guido Gezelleplein 1 - 8900 Ieper
google map website

Colours

F. Celis Trio Op.5
J. Jongen Trio in b Op.10
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work, which is in three movements.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Shostakovich & Prokofiev

Bethaniestraat 4 - 5211 LJ 's-Hertogenbosch
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Shostakovich & Prokofiev

S. Prokofiev Ballade 
S. Prokofiev 5 Mélodies 
D. Shostakovich Trio No.1 in C 
D. Shostakovich Trio No.2 in e 

The programme from our first CD. Two magnificent but under-performed duos by Prokofiev, the first early trio by Shostakovich and his captivating second trio, a favourite in Trio Khaldei’s repertoire.

The Piano Trio No. 1 is one of Shostakovich’s true early works and is filled with the romanticism and passion of the composer’s first amorous encounter. This short, one-movement piece contains many features characteristic of Shostakovich’s later works, such as snatches of humour, agitated piano passages, persistent chordal passages and sometimes uncomfortable dissonances but these give way to two extended melodies juxtaposing lyricism and exasperated anticipation.

Little of this romantic vigour remains in the second Piano Trio, a product not of love, but of war. The full sound of the cello in the first trio is markedly different from the fragile and barely audible introduction, played by the cello in harmonics, to the second trio. The work leaves a haunting void in its wake; an emptiness that Shostakovich himself experienced when one of his most versatile and brilliant friends, Ivan Sollertinsky, passed away while the trio was being composed. It is to Sollertinsky that the trio is dedicated, making this masterpiece almost a requiem.

The atmosphere created in the two Prokofiev pieces presented here is more in keeping with that of Shostakovich’s Trio No. 1. This is definitely true in the case of the Ballade for Cello and Piano, one of Prokofiev’s early works. It was written in 1912, when the composer was 21. This one-movement work also has a poetic French title (Shostakovich’s Trio No. 1 was originally entitled Poème), and this immediately gives a narrative element to the music, even if it is not explicit. As is often the case in ballades, the music transports the listener from one atmosphere to the next, punctuating the journey with repeated melodic motifs.

The Five Melodies for Violin and Piano (1925) is an unusual work. The piece was originally written in 1920 for piano and voice without words, using the title ‘Songs without Words’ in its strictest sense. It is precisely this absence of text that makes these pieces so easily adaptable to other instruments. Prokofiev himself arranged a version for violin, at the request of Pavel Kockansky, to whom he dedicated three of the five melodies. 
Text Pieter Bergé

In Memoriam

Stationsstraat 85 - 9100 Sint-Niklaas
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In Memoriam

D. Shostakovich Trio n.1 op. 8
D. Shostakovich Trio n.2 op. 67 
D. Shostakovich Seven Romances on Poems of Alexander Blok op.127

with Liesbeth Devos

The Trio’s name reflects its particular attraction for Russian culture; a concert containing exclusively Russian works was therefore a must in its programming. Much like Evgueni Khaldei, Dmitri Shostakovich often found himself in a delicate position in the face of the soviet regime. This is a virtuosic programme filled with emotion.

Vienna

Grote Markt 3 - 9300 Aalst
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Kern 18 - 2610 Antwerp
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Abdijdreef 22 - 3070 Kortenberg
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Vienna

F. Schubert Sonatensatz D.28
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, Trio Khaldei Trio plays a fresh piece by Franz Schubert, Sonatensatz.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Shostakovich & Prokofiev

rue Mercelis 13 - 1050 Ixelles
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Shostakovich & Prokofiev

S. Prokofiev Ballade 
S. Prokofiev 5 Mélodies 
D. Shostakovich Trio No.1 in C 
D. Shostakovich Trio No.2 in e 

The programme from our first CD. Two magnificent but under-performed duos by Prokofiev, the first early trio by Shostakovich and his captivating second trio, a favourite in Trio Khaldei’s repertoire.

The Piano Trio No. 1 is one of Shostakovich’s true early works and is filled with the romanticism and passion of the composer’s first amorous encounter. This short, one-movement piece contains many features characteristic of Shostakovich’s later works, such as snatches of humour, agitated piano passages, persistent chordal passages and sometimes uncomfortable dissonances but these give way to two extended melodies juxtaposing lyricism and exasperated anticipation.

Little of this romantic vigour remains in the second Piano Trio, a product not of love, but of war. The full sound of the cello in the first trio is markedly different from the fragile and barely audible introduction, played by the cello in harmonics, to the second trio. The work leaves a haunting void in its wake; an emptiness that Shostakovich himself experienced when one of his most versatile and brilliant friends, Ivan Sollertinsky, passed away while the trio was being composed. It is to Sollertinsky that the trio is dedicated, making this masterpiece almost a requiem.

The atmosphere created in the two Prokofiev pieces presented here is more in keeping with that of Shostakovich’s Trio No. 1. This is definitely true in the case of the Ballade for Cello and Piano, one of Prokofiev’s early works. It was written in 1912, when the composer was 21. This one-movement work also has a poetic French title (Shostakovich’s Trio No. 1 was originally entitled Poème), and this immediately gives a narrative element to the music, even if it is not explicit. As is often the case in ballades, the music transports the listener from one atmosphere to the next, punctuating the journey with repeated melodic motifs.

The Five Melodies for Violin and Piano (1925) is an unusual work. The piece was originally written in 1920 for piano and voice without words, using the title ‘Songs without Words’ in its strictest sense. It is precisely this absence of text that makes these pieces so easily adaptable to other instruments. Prokofiev himself arranged a version for violin, at the request of Pavel Kockansky, to whom he dedicated three of the five melodies. 
Text Pieter Bergé

Apocalypse

Kleine Katelijnestraat 12 - 2235 Hulshout
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Apocalypse

M. Ravel Trio
O. Messiaen Quatuor pour la fin du temps

with Geert Baeckelandt

In the “Apocalypse” programme, Trio Khaldei interprets two of the all-time masterpieces of the 20th Century. The atmosphere created is spellbinding, and while it evokes the end of the world, it also suggests hope and a longing for a new and better world.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Clarinettist Geert Baeckelandt joins Trio Khaldei for the performance of Olivier Messiaen’s Quartet for the End of Time. This work was both composed and premiered in wartime (1941), more specifically in the Prisoner of War camp in Görlitz in which Messiaen was imprisoned. As in the trio by Ravel, mysticism and spirituality characterise this work, which takes its inspiration from a quote from the Apocalypse of St John. The première of this quartet took place within the same camp, in gruelling conditions. The work is in eight movements, with certain movements only featuring some of the musicians. The movement for solo clarinet, Abîme des oiseaux, is perhaps the most well known movement of the quartet.

Even today, the performance of the Quartet for the End of Time leaves a lasting impression on the listener.

In this gripping programme, Trio Khaldei translates into music both hope and despair, the beginning and the end, death and eternity.

Shostakovich & Prokofiev

Falconrui 47 - 2000 Antwerpen
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Shostakovich & Prokofiev

S. Prokofiev Ballade 
S. Prokofiev 5 Mélodies 
D. Shostakovich Trio No.1 in C 
D. Shostakovich Trio No.2 in e 

The programme from our first CD. Two magnificent but under-performed duos by Prokofiev, the first early trio by Shostakovich and his captivating second trio, a favourite in Trio Khaldei’s repertoire.

The Piano Trio No. 1 is one of Shostakovich’s true early works and is filled with the romanticism and passion of the composer’s first amorous encounter. This short, one-movement piece contains many features characteristic of Shostakovich’s later works, such as snatches of humour, agitated piano passages, persistent chordal passages and sometimes uncomfortable dissonances but these give way to two extended melodies juxtaposing lyricism and exasperated anticipation.

Little of this romantic vigour remains in the second Piano Trio, a product not of love, but of war. The full sound of the cello in the first trio is markedly different from the fragile and barely audible introduction, played by the cello in harmonics, to the second trio. The work leaves a haunting void in its wake; an emptiness that Shostakovich himself experienced when one of his most versatile and brilliant friends, Ivan Sollertinsky, passed away while the trio was being composed. It is to Sollertinsky that the trio is dedicated, making this masterpiece almost a requiem.

The atmosphere created in the two Prokofiev pieces presented here is more in keeping with that of Shostakovich’s Trio No. 1. This is definitely true in the case of the Ballade for Cello and Piano, one of Prokofiev’s early works. It was written in 1912, when the composer was 21. This one-movement work also has a poetic French title (Shostakovich’s Trio No. 1 was originally entitled Poème), and this immediately gives a narrative element to the music, even if it is not explicit. As is often the case in ballades, the music transports the listener from one atmosphere to the next, punctuating the journey with repeated melodic motifs.

The Five Melodies for Violin and Piano (1925) is an unusual work. The piece was originally written in 1920 for piano and voice without words, using the title ‘Songs without Words’ in its strictest sense. It is precisely this absence of text that makes these pieces so easily adaptable to other instruments. Prokofiev himself arranged a version for violin, at the request of Pavel Kockansky, to whom he dedicated three of the five melodies. 
Text Pieter Bergé

Shostakovich & Prokofiev

Grote Markt, 3 - 9300 Aalst
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Shostakovich & Prokofiev

S. Prokofiev Ballade 
S. Prokofiev 5 Mélodies 
D. Shostakovich Trio No.1 in C 
D. Shostakovich Trio No.2 in e 

The programme from our first CD. Two magnificent but under-performed duos by Prokofiev, the first early trio by Shostakovich and his captivating second trio, a favourite in Trio Khaldei’s repertoire.

The Piano Trio No. 1 is one of Shostakovich’s true early works and is filled with the romanticism and passion of the composer’s first amorous encounter. This short, one-movement piece contains many features characteristic of Shostakovich’s later works, such as snatches of humour, agitated piano passages, persistent chordal passages and sometimes uncomfortable dissonances but these give way to two extended melodies juxtaposing lyricism and exasperated anticipation.

Little of this romantic vigour remains in the second Piano Trio, a product not of love, but of war. The full sound of the cello in the first trio is markedly different from the fragile and barely audible introduction, played by the cello in harmonics, to the second trio. The work leaves a haunting void in its wake; an emptiness that Shostakovich himself experienced when one of his most versatile and brilliant friends, Ivan Sollertinsky, passed away while the trio was being composed. It is to Sollertinsky that the trio is dedicated, making this masterpiece almost a requiem.

The atmosphere created in the two Prokofiev pieces presented here is more in keeping with that of Shostakovich’s Trio No. 1. This is definitely true in the case of the Ballade for Cello and Piano, one of Prokofiev’s early works. It was written in 1912, when the composer was 21. This one-movement work also has a poetic French title (Shostakovich’s Trio No. 1 was originally entitled Poème), and this immediately gives a narrative element to the music, even if it is not explicit. As is often the case in ballades, the music transports the listener from one atmosphere to the next, punctuating the journey with repeated melodic motifs.

The Five Melodies for Violin and Piano (1925) is an unusual work. The piece was originally written in 1920 for piano and voice without words, using the title ‘Songs without Words’ in its strictest sense. It is precisely this absence of text that makes these pieces so easily adaptable to other instruments. Prokofiev himself arranged a version for violin, at the request of Pavel Kockansky, to whom he dedicated three of the five melodies. 
Text Pieter Bergé

Colours

Kerkplein 1 - 2070 Burcht
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F. Celis Trio op.5
J. Jongen Trio in b op.10
 - II. Andante molto sostenuto
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Colours

Wolfgang d'Urselstraat 9 - 2880 Hingene
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Colours

F. Celis Trio op.5
J. Jongen Trio in b op.10
 - II. Andante molto sostenuto
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Colours

Bethaniestraat 4 - 5211 LJ 's-Hertogenbosch
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Colours

F. Celis Trio op.5
J. Jongen Trio in b op.10
 - II. Andante molto sostenuto
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Apocalypse

Richard Van Britsomstraat 21 - 9100 Sint-Niklaas
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Apocalypse

M. Ravel Trio
O. Messiaen Quatuor pour la fin du temps

with G. Baeckelandt

In the “Apocalypse” programme, Trio Khaldei interprets two of the all-time masterpieces of the 20th Century. The atmosphere created is spellbinding, and while it evokes the end of the world, it also suggests hope and a longing for a new and better world.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Clarinettist Geert Baeckelandt joins Trio Khaldei for the performance of Olivier Messiaen’s Quartet for the End of Time. This work was both composed and premiered in wartime (1941), more specifically in the Prisoner of War camp in Görlitz in which Messiaen was imprisoned. As in the trio by Ravel, mysticism and spirituality characterise this work, which takes its inspiration from a quote from the Apocalypse of St John. The première of this quartet took place within the same camp, in gruelling conditions. The work is in eight movements, with certain movements only featuring some of the musicians. The movement for solo clarinet, Abîme des oiseaux, is perhaps the most well known movement of the quartet.

Even today, the performance of the Quartet for the End of Time leaves a lasting impression on the listener.

In this gripping programme, Trio Khaldei translates into music both hope and despair, the beginning and the end, death and eternity.

Colours

- 9120 Beveren-Waas
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Colours

F. Celis Trio op.5
J. Jongen Trio in b op.10
 - II. Andante molto sostenuto
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Colours

Cogels-Osylei 73 - 2000 Antwerpen
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Colours

F. Celis Trio Op.5
J. Jongen Trio in b Op.10
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work, which is in three movements.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Colours

Grote Markt, 3 - 9300 Aalst
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Colours

F. Celis Trio Op.5
J. Jongen Trio in b Op.10
M. Ravel Trio in a

This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s Trio. Trio Khaldei is always searching for imaginative programmes in which well-known works appear alongside their lesser-known counterparts. In addition to this trio, they offer the magnificent music of Belgian composers Frits Celis and Joseph Jongen.

Called to the battlefront in 1914, Maurice Ravel wrote this remarkable work in a great hurry. In a letter to Stravinsky, he confided that this hurried departure pushed him to write in 5 weeks a work that should have taken 5 months. The zeal and urgency of the writing have led to one of the most innovative and coloured pieces in the history of chamber music.

Two early works of Belgian composers complete the programme. Joseph Jongen wrote his first Piano Trio in B Minor Op. 1 in 1897 and dedicated it to his father. Flashbacks to German romanticism and French impressionism are scattered throughout this great work, which is in three movements.

Unfortunately, the music of Frits Celis is often underappreciated and not played enough. Trio Khaldei wants to give this Belgian composer the place he deserves. Frits Celis wrote his Trio in 1958. This fifth opus – one of his first compositions – already contains all of the qualities to be found in his later works: a very strong rhythmic tension and clear structure, but above all, a marvellous wide palette of timbres.

Apocalypse

Kammenstraat 81 - 2000 Antwerpen
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Apocalypse

O. Messiaen Quatuor pour la fin du temps

with G. Baeckelandt

In the “Apocalypse” programme, Trio Khaldei interprets two of the all-time masterpieces of the 20th Century. The atmosphere created is spellbinding, and while it evokes the end of the world, it also suggests hope and a longing for a new and better world.

Clarinettist Geert Baeckelandt joins Trio Khaldei for the performance of Olivier Messiaen’s Quartet for the End of Time. This work was both composed and premiered in wartime (1941), more specifically in the Prisoner of War camp in Görlitz in which Messiaen was imprisoned. As in the trio by Ravel, mysticism and spirituality characterise this work, which takes its inspiration from a quote from the Apocalypse of St John. The première of this quartet took place within the same camp, in gruelling conditions. The work is in eight movements, with certain movements only featuring some of the musicians. The movement for solo clarinet, Abîme des oiseaux, is perhaps the most well known movement of the quartet.

Even today, the performance of the Quartet for the End of Time leaves a lasting impression on the listener.

In this gripping programme, Trio Khaldei translates into music both hope and despair, the beginning and the end, death and eternity.

Vienna

Bethaniestraat 4 - 5211 LJ 's-Hertogenbosch
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Vienna

W.A. Mozart Trio in Bes
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, the Khaldei Trio returns to the origins of the piano trio. It was actually in the age of Mozart and Haydn that the genre of the piano trio as we know it now, appeared first. Mozart's Trio KV502 marks a turning point in the evolution of this form: from a more solistic piano part with the violin and violoncello in an accompanying role, it has arrived at a point where the three instruments converse on an equal basis.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

Vienna

Falconrui 47 - 2000 Antwerpen
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Vienna

W.A. Mozart Trio in Bes
J. Brahms Trio No. 2 in C
A. Schönberg Verklärte Nacht

Vienna: the epicentre of three centuries of European music history. This programme offers three works illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart, Brahms and Schönberg.

At the beginning of this concert, the Khaldei Trio returns to the origins of the piano trio. It was actually in the age of Mozart and Haydn that the genre of the piano trio as we know it now, appeared first. Mozart's Trio KV502 marks a turning point in the evolution of this form: from a more solistic piano part with the violin and violoncello in an accompanying role, it has arrived at a point where the three instruments converse on an equal basis.
The programme continues with one of the greatest composers of the Romantic era, Johannes Brahms. His second trio, composed in Vienna between 1880 and 1882, boasts endless treasures, and Brahms' incomparable talent as a chamber musician makes itself heard.
After the break, the Khaldei Trio interprets Verklärte Nacht (Transfigured Night), Arnold Schönberg's famous piece based on the poem of the same name by Richard Dehmel. The arrangement for trio is by Eduard Steuermann. The composer follows the structure and content of the poem in the music. Nature, guilt, forgiveness and redemption are all entwined in Schönberg’s composition.

In Memoriam

't Zand 34 - 8000 Brugge
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In Memoriam

D. Shostakovich Trio n.1 Op. 8
D. Shostakovich Trio n.2 Op. 67 
P.I. Tchaikovsky Trio in a Op. 50 

The Trio’s name reflects its particular attraction for Russian culture; a concert containing exclusively Russian works was therefore a must in its programming. Much like Evgueni Khaldei, Dmitri Shostakovich often found himself in a delicate position in the face of the soviet regime. This is a virtuosic programme filled with emotion.