THE FRESHWATER TRIO
Eidit Colder, pianoforte
Zoe Black, violin
Josephine Vains, violoncello
Sunday, 6th July, 2008 2pm
$T. PETER’S PARISH HALL
Meet the Artists
Freshwater Trio was formed in Melbourne in 2006 by three prominent Melbourne musicians, who together bring a unique collaborative and energetic style to chamber music performance. They have performed widely on radio for ABC FM, 774 AM and 3MBS, and been invited to perform in a variety of music series and festivals including; in the prestigious Castlemaine State Festival, Port Fairy Spring Festival, Macedon Music Series, at BMW Edge in Federation Square, Ballarat Art Gallery, ‘Music at St.Silas’ Series, British Music Society Series, Friends of the Israel Philharmonic Concerts, Melba Conservatorium Series, and the University of Melbourne Lunch Hour Concerts. Their inaugural series at Melba Hall was widely acclaimed by public and peers alike. Their interpretations have been described as “fearless” and “innovative” (The Age) as well as an ensemble of “stunning musical pedigree” (ABC FM).
In 2008 Freshwater Trio presents a fresh and innovatively programmed subscription series at Melba Hall, exploring the fascinating relationship between music and colour. The Trio pays homage to a 20* century theorist of sound and colour, Oliver Messiaen, as well as music from another ‘synaesthete’ Scriabin, and popular repertoire from the greats – Schubert, Brahms and Haydn.
Freshwater Trio is testimony to the belief that chamber music deserves the attention of front-rank professional players. Violinist Zoe Black has held the position of Associate Concertmaster with the Australian Chamber Orchestra, cellist Josephine Vains was the winner of the inaugural National Chamber Music Competition, whilst Israeli-born pianist Eidit Colder brings more soloist credentials as a winner of the National Piano Award amongst other prizes.
In 2008, Freshwater Trio will be performing for Musica Viva’s Coffee Concerts, various festivals in city and regional centres, and is planning a tour to St.Petersburg and European centres as well as continuing their popular concert series at Melba Hall. 2008 sees Freshwater Trio as the ‘Ensemble-in-Residence’ at the Victorian College of the Arts, University of Melbourne.
Order of Program
W.A. Mozart – Piano Trio in C major K.548
Allegro Andante cantabile Allegro
Olivier Messiaen – Quartet for the End of Time Movement V: Praise to the Eternity of Jesus. Jesus is considered here as the Word. A broad phrase, infinitely slow, on the violoncello, magnifies with love and reverence the eternity of the Word, powerful and gentle,… “In the beginning was the Word, and Word was with God, and the Word was God.”
In 1940, Olivier Messiaen (1908-92) was interned in a German prison camp, where he discovered among his fellow prisoners a clarinettist, a violinist and a violoncellist. The success of a short trio which he wrote for them led him to add seven more movements to this Interlude, and a piano to the ensemble, to create the Quartet for the End of Time. Messiaen and his friends first performed it for Iheir 5000 fellow prisoners on January 15,1941.
If the plain facts of the work’s origins are simple, the spiritual facts are far more complex. Messiaen’s religious mysticism found a point of departure for the Quartet in the passage in the Book of Revelation (chapter 10) about the descent of the seventh angel, at the sound of whose trumpet the mystery of God will be consummated, and who announces “that there should be time no longer.”
According to the composer, tile Quartet was intended not to be a commentary on the Apocalypse, nor to refer to his own captivity, but to be akind of musical extension of the Biblical account, and of the concept ofthe end of Time as the end of past and future and the beginning of eternity. For Messiaen there was also a musical sense to the angel’s announcement. His development of a varied and flexible rhythmic system, based in part on ancient Hindu rhythms, came to fruition in the Quartet, where more or fess literally Messiaen put an end to the equally measured “time” of western classical music.
The architecture ofthe Quartet is both musical and mystical. There are eight movements because God rested on the seventh day after creation, a day which extended into the eighth day of timeless eternity. There are stylistic and theological relationships between movements five and eight.
Olivier Messiaen – Quartet for the End of Time Movement VIII: Praise to the Immortality of Jesus. Expansive solo violin, counterpart to the violoncello solo ofthe fifth movement. Why this second encomium? It addresses more specifically the second aspect of Jesus, Jesus the Man, the Word made flesh… Its slow ascent toward the most extreme point of tension is the ascension of man toward his God, ofthe child of God toward his Father, ofthe being made divine toward Paradise.
Johannes Brahms – Piano Trio in C major Op.87 Allegro Andante con moto Scherzo Finale: Allegro giocoso