I. Andante-Moderato
\nII. Allegro non troppo
\nIII. Largo
\nIV. Allegretto<\/p>\n
Having recently finished his Eighth Symphony, Shostakovich stated work on his second Piano Trio in late 1943:<\/p>\n
\nChamber music demands of a composer the most impeccable technique and depth of thought. I don’t think I will be wrong if I say that composers sometimes hide their poverty-stricken ideas behind the brilliance of orchestral sound. The timbral riches which are at the disposal of the contemporary symphony orchestra are inaccessible to the small chamber ensemble. Thus, to write a chamber work is much harder than to write an orchestral one.<\/p>\n<\/blockquote>\n
The Trio was completed in August 1944, and premiered in Leningrad on 14 November
\n1944.<\/p>\nThe emotional intensity of the trio is in part reflection of Shostakovich\u2019s psychological state at the time. In the spring of 1944 he had suffered bouts of depression and illness and he was mourning the death of one of his closest friends, musicologist Ivan Sollertinsky, to whom the Trio is dedicated. Shostakovich was also horrified at the details emerging of the Red Army\u2019s liberation of the Nazi Concentration camps at Belzec, Sobibor, Majdanek and Treblinka (the fact that Sollertinsky was a Jew may have heightened his empathy). The last movement of the trio quotes a Jewish melody
\nand is filled with other characteristics of Jewish music (a bold statement in Stalinist Russia). Upon hearing a performance the Moscow premiere on 28 November 1944, violinist Rostislav Dubinsky noted: \u201cthe music left a devastating impression. People cried openly. The last, \u201cThe Jewish Part\u201d of the Trio, by popular demand had to be repeated.\u201d<\/p>\n\u00a9 Greg Smith, 2009<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"
I. Andante-Moderato II. Allegro non troppo III. Largo IV. Allegretto Having recently finished his Eighth Symphony, Shostakovich stated work on his second Piano Trio in late 1943: Chamber music demands of a composer the most impeccable technique and depth of thought. I don’t think I will be wrong if I say that composers sometimes hide […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[555],"tags":[1332,1334,1333],"class_list":["post-5028","post","type-post","status-publish","format-standard","hentry","category-program-notes","tag-dmitri-shostakovich","tag-op-67","tag-piano-trio-no-2"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=\/wp\/v2\/posts\/5028","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5028"}],"version-history":[{"count":1,"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=\/wp\/v2\/posts\/5028\/revisions"}],"predecessor-version":[{"id":5029,"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=\/wp\/v2\/posts\/5028\/revisions\/5029"}],"wp:attachment":[{"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5028"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5028"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wedgebillmusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5028"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}