Joseph Wolfe & Rose Hinton - violin

Samantha Hutchins - viola

Jonathan Ayling - cello

Daniel Grimwood - piano

Brahms (1833 - 1897)

Piano Quintet in F minor Op. 34

1 Allegro non troppo

2 Andante, un poco Adagio

3 Scherzo. Allegro

4 Poco sotenuto - Allegro non troppo

Dvořák (1841 - 1904)

Piano Quintet in A major Op. 81

1 Allegro non troppo

2 Andante, un poco Adagio

3 Scherzo. Allegro

4 Poco sotenuto - Allegro non troppo



Haydn (1732-1809)

Trio in E Hob. XV:12

1 Allegro Moderato

2 Andante

3  Rondo - Presto

Schubert (1797-1828)

Trio in B-flat major Op. 99

1 Allegro Moderato

2 Andante un poco mosso

3 Scherzo. Allegro

4 Rondo. Allegro vivace

Haydn's 45 or so trios, as we refer to them, were often published as keyboard sonatas with accompaniment from violin and cello. By the time this Trio was composed, Haydn's reputation as the pre-emminent composer of his generation was secure. Always restlessly inventive, Haydn had started to evolve the Trio genre as something more egalitarian, with the string parts, although not fully emancipated, playing a vital role in the musical discourse.

This imposing work starts with an earnest, at times impassioned Allegro very much in the sturm und drang style, where Haydn explores many contrapuntal devices and imaginative textures. The innocent melody which opens the Andante quickly gives way to something more operatic and dramatic, and the quicksilver Presto whips up a frenzy of spirited virtuosity from all three instruments.

The radiant B flat Trio was composed in the penultimate year of Schubert's tragically short life. Less is known about it than its sibling Trio in E-flat, which was performed and one of the few instrumental works to be published in the composer's lifetime. The B-flat Trio would not appear in print untill 1836, after the composer's brother, Ferdinand found it buried amongst some other manuscripts.

Schumann said of this Trio "all miserable human commotion vanishes; the world grows with new splendour". Because of, or despite the fact that the B flat Trio allows beauty to exist relatively untroubled by darkness in a way most of his late chamber works do not, it has superceded the E-flat Trio in popularity. 

The opening Allegro Moderato suggests mountains and hunting, with yodelling, horn calls, echo effects, and is one of Schubert's most bouyant creations. The Andante, somewhere between a love duet, a barcarolle and a lullaby, creates an image of pure radiance. The final notes pre-echo the first notes of the busy Scherzo, and the Finale - long by even Schubert's standards - scintillates with daring harmonic modulations and ingenious thematic transformations.

Daniel Grimwood




Purcell (1659 - 1695) arr. Grimwood

Chacony in G minor

Beethoven (1770 – 1827)

'Moonlight' Sonata Op. 27 No. 2 in C# minor

1 Adagio sostenuto

2 Allegretto

3 Presto agitato

Schumann (1810 - 1856)  arr. Kirchner


Farhad Poupel (alive and kicking)

Fantasy on One Note 

Comfort Break

Scriabin (1872 - 1915)

Sonata no. 2 in G# minor 'Ocean' (Sonata-Fantasy)

1 Andante

2 Presto

Lyapunov (1857 - 1918)

Sonata in F minor Op. 27

Purcell's perenially popular Chacony is originally for Viol consort or string orchestra. I love the piece and decided to give it a decidedly nineteenth-century treatment as a solo piano concert piece

Beethoven named this most famous of his piano works as Sonata quasi una fantasia, and the title by which it is known today was invented some years after his death. The Sonata is unusual in a number of ways: All three movements share a tonality; rather than a contrast, the trajectory is one of intensification with each movement being faster than its predecessor, culminating in about the most furious finale that Beethoven ever conceived. Despite, or because of the work's tremendous popularity, Beethoven wrote to his pupil Carl Czerny “Everybody is always talking about the C-sharp minor sonata. Surely I’ve written better things. Why does everybody play it?”

And yet, we still do!

This Gorgeous transcription of the song, Mondnacht from Schumann's Liederkreis Op. 39 is by Theodor Kirchner, who probably knew the Schumanns. Here is the text of the original song, translated into English 

t was as though Heaven

Had softly kissed the Earth,

So that she in a gleam of blossom

Had only to dream of him.

The breeze passed through the fields,

The corn swayed gently to and fro,

The forests murmured softly,

The night was so clear with stars.

And my soul spread

Her wings out wide,

Flew across the silent land,

As though flying home.

Translation © Richard Stokes, author of The Book of Lieder, published by Faber, provided courtesy of Oxford Lieder 

Farhad Poupel, who lives in Esfahan, wrote this Fantasia in 2019. Like the work by Purcell it share's a title with, Poupel ingeniously weaves his story around a single note that tolls throughout. It has a very satisfying stylistic synthesis of East and West and has become one of my favourite piano pieces.

Scriabin, a composer who's importance in the progress of Twentieth Century music has yet to be fully appreciated, composed 10 completed Sonatas which encompass the entire gigantic stylistic development of his short life.

Scriabin was eloquent about the inspirations for many of his works, and we therefore know that his Second Sonata, the Sonata-Fantasy, wass inspired by the ocean following a voyage on the Baltic Sea.

Of the sea he wrote;

“Everything glowed with magnificent majesty on the horizon. First a clear purple, then it turned rose-colored, and finally silvery flecks stained the surface of the sea…. The green of the sea blended with the blue reflection of the sky. There was such a play of colors and shades as I've never seen. It was a picture, a triumph of colors, a festival of truth.”

Of his Sonata he wrote;

“…the first movement represents the quiet of a southern night on the seashore; the development is the dark agitations of the deep, deep sea. The E-major middle section shows caressing moonlight coming after the first darkness of the night. The second movement, Presto, represents the vast expanse of ocean stormily agitated.” 

Lyapunov - composer, pianist, conductor, pedagogue - is rarely heard nowadays, yet he was a person of great importance in the canon of Russian music. As a composer, he very consciously took up the mantles of both Liszt and Balakirev, and his style is highly reminiscent of the Mighty Handful, with flavours of the Orient and reminiscences of Russian chant. He adheres to the model of Liszt's B minor Sonata in which multiple movements are joined together into one continuous flow of music.

Daniel Grimwood