TRIO FOR OBOE, VIOLA, AND PIANO
A two-movement trio written for CityMusic Cleveland’s “Justice, Equality, Hope” series. The first movement looks to the past with an homage to Beethoven’s Ninth Symphony; the second reflects the uneasy present of the fight for equality.
Instrumentation
Oboe (doubling English Horn), Viola, Piano
Duration
15 minutes (in 2 movements)
Year Composed
2021
Commission & Premiere Info
Commissioned by CityMusic Cleveland for their 2021-2022 “Justice, Equality, Hope” Chamber Music Series. Premiered by Justine Myers (oboe), Yael Senamaud-Cohen (viola), and Elizabeth DeMio (piano) in Lakewood, OH, on March 18, 2022.
Program Notes
When I was asked to write a piece for CityMusic Cleveland’s 2021-2022 “Justice, Equality, Hope” Chamber Music Series, I had just studied Beethoven’s 9th symphony. The symphony expressed Beethoven’s desire for equality and democracy, as he was very much inspired by the French Revolution. Repeated notes were used as a central motif throughout the symphony, and it symbolizes the idea of “all men are equal.”
The first movement of the trio opens with relentless repeated notes played by both the viola and oboe. Then a melodic theme ensues, played by all 3 members of the trio and also full of repeated notes, as an homage to the 9th symphony. The first movement represents the past through its musical style, as I found it relevant to recognize that “equality for all” is something for which we as humankind have always been fighting. What’s new about our fight for equality is the people that are included in the “all.”
The second movement stylistically represents the present. It juxtaposes the piano and viola pizzicato (plucking the strings) chasing off each other in an urgent manner with the English horn playing solo passages freely and with great sadness. The juxtaposition is what I often feel when hearing news that’s related to racial and gender equality; there are changes that make us feel like we are moving toward a brighter future, yet there are tragedies that happen that make us realize that we’re far from finished.
The movement reaches a climactic point where the music is dance-like and celebratory. But it does not feel like a place of security because of the constant dissonances and irregular phrasings. The “celebration” did not last long and it comes to an unsatisfying and abrupt end. An oboe solo emerges; it recalls the previewed English horn lamenting melodies, but now it’s colored with both the sound of major and minor modes, as if it’s not sure which mode it will end up being. Even if the future is uncertain, and it sometimes doesn’t seem like equality and justice are winning every time, there are still moments of victory that deserve celebration.