Seraphim Trio

Friday, 29 June 2018 at 8pm

Helen Ayres (violin), Anna Goldsworthy (piano), Tim Nankervis (‘cello)


Tickets for this concert can be purchased in advance



Mozart                       Trio in G major for piano, violin and 'cello,  K 496

Schumann                  Piano trio no 1 in D minor, op 63

Ravel                         Piano trio in A minor, M67

About the Artists

The Seraphim Trio is one of Australia’s pre-eminent piano trios. Over their twenty two years together, the members of the Seraphim Trio - Helen Ayres (violin), Anna Goldsworthy (piano) and Timothy Nankervis (‘cello) - have established a reputation for performing with finesse and impeccable quality.  They are well know to Australian audiences through their concert series, radio broadcasts, recordings and solo appearances.

Programme Notes

The Seraphim Trio's programme showcases the different musical worlds that the piano trio can create. Mozart’s trio is one of the first great Classical piano trios; the voices of piano, violin and ‘cello have equal prominence, elegantly intertwined in graceful harmonies. Schumann’s piano trio has a Classical piano trio form, invested with an intensely personal character, filled with complex and conflicting emotions building to a glorious ending. Ravel’s piano trio is beautifully crafted in the Classical form, enriched with the freshness of exotic melodies, surprising rhythms and vibrant tone colours.

MOZART  Trio in G major for violin, cello and piano, K 496

Allegro / Andante / Allegretto

Whereas Mozart designated the strings in his early trio sonatas as being mere accompanying instruments to the keyboard, the trio of 1786 (many years later) was called a  "trio for keyboard, violin and cello".   On the original title page of the work, Mozart wrote sonata,  but he entered Terzett into his personal catalogue of compositions.

As Roger Hellyer remarks, "For seventeen long measures at the start, the piano alone unravels one of Mozart's most sinuous opening themes" and "the second movement is one of Mozart's great slow movements, intricate, refined, and majestic".  The finale consists of a theme and six variations that offer some lighter relief after the intensity of the movement they follow.

Alfred Einstein writes that  "this is a real trio, in which the violoncello takes part in the dialogue, although somewhat more sparingly than the violin, and is not at all a mere later addition to a work complete without it".

                                                                                                                         M. C.

Detailed programme notes for other works will be available nearer to the concert date.



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