Mikhail Glinka's Trio Pathéthique for Clarinet, Bassoon, and Piano.
Garrick Zoeter, Clarinet
Gilbert Dejean, Bassoon
Catilin Dima, Piano
This faculty performance took place July 19, 2023, at Colgate University in Hamilton N.Y. as a part of the Chamber Music Conference and Composers Forum of the East Chamber Music Festival. Please see cmceast.org/ for more information on this wonderful chamber music festival.
Allegro moderato 0:05-5:09
Scherzo - Trio 5:10-8:21
Largo 8:22-13:10
Allegro con spirito 13:13-End
Glinka’s Trio pathétique scored for the unusual combination of clarinet, bassoon, and piano, dates from 1832 when the twenty-eight-year-old composer was studying in Milan and still emulating Italy’s operatic composers. The work’s published title is a bit misleading: though cast in the unsmiling d minor, the trio is an exuberant work. Indeed, the Allegro moderato’s second theme, in less severe B-flat major, is utterly cheerful. The ensemble’s palette of timbres has much to do with its character, with clarinet and bassoon evoking belllike laughter in their upper registers. The work proceeds attacca into the bright-eyed scherzo and then into the warm Largo, both briming with operatic lyricism. The finale, marked Allegro con spirito, serves as an epilogue, reprising earlier musical ideas. Under the spell of bel canto Italian opera, Glinka produced a Trio pathétique markedly less despairing than the literature’s more famous Pathétiques (Beethoven’s Piano Sonata in c minor, op. 13, and Tchaikovsky’s Sixth Symphony). Perhaps Glinka had an unrequited love on his mind while at work on the trio-he wrote on the autograph manuscript, “I have known love only through the pain it brings.” If so, the work’s optimistic character convincingly conceals his heartache.
Notes by Patrick Castillo
#clarinet #bassoon #piano #chambermusic #trio #glinka #wearebuffet
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