Vivace Trio Op.436
Vivace Trio in Eb Major Op.436 is a trio for Bb clarinet, viola and piano.
The work consists of four contrasting movements and is designed to be of an advanced level chamber work for the clarinet.
Vivace Trio is set in the key of Eb major with the 2nd movement being in the key of C minor and the third movement in Eb and the 4th movement in F minor but due to a recapitulation of the 1st movement’s main theme ends in Eb major.
About the Work
Vivace Trio in Eb major Op.436 was first sketched in 2009 and over the years was altered, re-scored, recorded, and revamped until the final version that appears here was finalised in 2021. The name of the work comes from the name of Andy and his wife’s home in Newcastle Australia, “Vivace Cottage”.
Movement 1: Andante Moderato
The first movement is inspired by WA Mozart’s “Kegelstatt Trio” k.498 with all three instruments stating the main theme in unison right from the beginning. The clarinet then further completes this theme which leads to the 2nd theme. Section “B” introduces a variation of the main theme played in the relative minor key (C minor). A new theme appears in section “C” before returning to the main theme once more.
A new theme is then introduced, extended and developed before the work reaches a recapitulation of the 1st section of the work at “G”. Shortly thereafter the work comes to a conclusion via the statement of the main theme.
Movement 2: Adagio ma non Troppo
Set in C minor, this movement begins with the clarinet stating the main theme for the first ten bars before relinquishing it to the viola in section “B”. A more urgent, heavier and syncopated theme emerges in section “C” which is then transferred to the piano in section “D” of the movement.
A new theme is introduced by the clarinet in section “E” which introduced a flowing triplet feel to the movement. This triplet feel is then continued and applied to the thematic material in section “F”. This theme then becomes more fragmented and unstable by being rhythmically displaced and extended (section “G”) before being stabilised and re-established by the piano in section “H”.
A recapitulation of the first section of the movement occurs in section “I” which then leads to a short coda section and the final gentle phrases of the movement.
Movement 3: Molto Andante
This movement commences with a simple, plaintive theme performed by all three instruments in harmony for the first eight bars of the movement. This theme is then carried by the viola and accompanied by intermittent flourishes from the clarinet and piano leading to the second theme for the movement.
The second theme emerges in section “C” of the movement with much gusto played by all three instruments in unison. This then leads to a new theme in the clarinet in section “D”. Romantically oriented, this theme is developed and extended leading to a new theme in section “E” once again played by the clarinet.
The viola then takes this theme in section “F” whilst the clarinet and piano accompany this with quick moving harmonised flourishes and passages. A more urgent and dramatic theme based on the material of the first theme emerges which leads to a giocoso-styled section featuring the viola as the lead and accompanied by decorative, quick-moving flourishes from the clarinet and piano.
A recapitulation of the first sections of the movement appears in section “H” which then leads to a somewhat reflective, doloroso but graceful resolution to the movement.
Movement 4: Allegro Moderato Con Expressione
The final movement of this work begins with a defiant, strident theme played in unison by all three instruments. This then leads to the softer more romantically-oriented first theme played by the clarinet, (section “A”). The second half of this theme is stated in the viola part and accompanied by flashes of virtuosic passages in the clarinet part, (section “B”).
A new theme emerges in section “C” played by the clarinet before being completed by the viola and then piano in section “D”. A new theme then emerges in section “E” played by the clarinet and taken over by the viola in section “F”. The piano then plays a short interlude based on the main theme from the first movement of the work which then leads to section “G” and a new theme played by the clarinet. This theme is accompanied by heavily syncopated, rhythmically-displaced accompaniment in the viola and piano parts.
The viola plays the second half of this new theme in section “H” before the clarinet swoops in once more and plays the final section of this theme.
A merging of this theme played by the viola and piano with that of the first main theme from movement 1 (played by the clarinet) occurs and this leads to a new more military-styled brash and rhythmically-forceful theme played by all three instruments. This theme builds in intensity before culminating in a virtuosic sweep of arpeggios in the clarinet part leading to a held top “A4”.
A recapitulation of the first statement from the beginning of the movement, (section “J”) followed by the first theme then emerges in section “L” played once more by the clarinet. The material from the first section of the movement is performed exactly as first stated which leads to section “M” and a short passage that hints at the main theme from the first movement of the work.
After a short lull in the music and a short silence-a surprise! A recapitulation of the main theme from the first movement of theme work in the key of Eb major and as it originally appeared in the movement. The material from the first movement is faithfully re-stated as it appeared but this time it leads to a quickly accelerating passage that intensifies and builds. This passage then leads to the final statement of the main theme from movement 1 played in unison by all three instruments which then leads to the final three chords that bring the work to a defiant but satisfying conclusion.
This product includes the clarinet & viola parts, piano accompaniment (as password-locked pdfs), and the complete performance tracks,(as mp3s).
WA Mozart’s “Kegelstat Trio” K.498