Piano Trio in G Minor, op. 3
I. 不太慢的 Pas trop lent
作曲家 蕭頌（E. Chausson，1855-1899）
演出人員
張明碁（小提琴）Ming-Chi Chang
劉 穎（大提琴）Ying Liu
丁婉芯（鋼 琴）Wan-Hsin Ting
創作年份 1881
The French Romantic composer Chausson drew inspiration from his contemporary, César Franck (1822-1890), particularly in terms of his cyclic form. Franck often wove themes and motifs throughout his multi-movement compositions, a characteristic that is also evident in this trio. This piece marks the first of two piano trios created by Chausson, completed in 1881, during his early career. Although he faced disappointment after failing to secure the Prix de Rome, Chausson chose to pause his studies at the Paris Conservatoire. Nonetheless, this seemingly frustrating time did not hinder his musical creativity.
This composition exemplifies the defining features of the Romantic music era and poses significant challenges for performers. Romantic composers frequently employ increased modulations and chromatic melodies to obscure the primary key. They also defy traditional instrumental music composition and push the boundaries of performance techniques. For instance, in the cello section of this G minor trio, Chausson often utilizes very high registers to mirror the violin melody, enabling the string phrases to seamlessly intertwine in similar registers. However, this approach presents considerable challenges regarding the cello's intonation and timbre.
This concert features the first movement, which is structured into five distinct sections. Each section concludes with a gradual, slower transition to the next. Throughout this movement, the piano, despite having numerous notes, primarily serves as an accompaniment, while the strings take the lead in melody. The introduction employs a misty timbre to evoke harmonic instability, reflecting the compositional techniques of contemporary French Impressionistic composers like Debussy and Ravel. In contrast to the unstable harmonic structure presented in the introduction, both the first and second themes feature functional tones that alternate between G major and G minor. Chausson employs the common tonic G within the motifs to emphasize the harmonic distinction between these two parallel keys. The concluding section revisits the melody of the first theme. Unlike the earlier duet with the strings, this part utilizes more unison to further underscore the theme. Additionally, the piano shifts from an arpeggiated accompaniment pattern to a richer, chord-based melody, enhancing the traditional tonality and harmonic progression. Ultimately, the first movement concludes with the recurring G motif that permeates the entire piece.