Preformed by a trio consisting of pianist Jane Coop, violinist Joan Blackman and horn player Oto Carrillo, Horn of Plenty showcased three different pieces. The first piece was Beethoven’s Sonata in A Major for piano and violin. The second being John Harbison’s composition entitled Twilight Music. And finally, Johannes Brahms’ Horn Trio in E flat major. I will focus on Beethoven’s sonata as I think I can only describe one with the word count allotted.
The rendition of Beethoven’s sonata written for piano and violin began like almost all sonatas do with an allegro pace. The first movement, allegro vivace was very ‘bouncy’. The main theme of the movement highlights the partnership between the two instruments. Making very good use of triplets, the violin accompanies the melody played by the piano. As the theme later develops, it kind of feels like an argument of sorts. However, it is in a major key. As it is argumentative dynamically, it sounds rather jovial. As if the argument is being done by a couple still in their ‘honeymoon phase’. Contrary to the first theme which primarily had the primary melody played by the piano using monophonic texture (in a major mode), the second theme uses polyphony as well. The minor theme uses more syncopation to emphasize the jovial, free flowing nature of the tonic theme is over. Assisted by some modulation, the theme is more desperate in feeling. The notes themselves seem to descend, then possibly chromatically ascend, only to descend again. Like someone taking a step forward and taking three steps back. This theme complements the first because of how much it contrasts it. Because the first theme is longer and faster, the second theme creates a much needed struggle to an otherwise overly happy initial tonic.
The second movement is were you can finally have a sip of the water you so desperately needed after the first. Although there are some instances where triplets are used that reference back to the movement, they are much more relaxed in nature and less syncopated. If the allegro is an argument, the development stage is a conversation. It does have dynamic changes that make it feel like there still is conflict carrying over from the first movement, but overall it feels more relaxed in nature. A lot more polyphony here, as the violin and piano seem to be on the same page.
Finally the third movement was my favourite of them all. The rondo is rather uplifting and is at a tempo that resides in-between the first two movements. For me it was hard keep tract of all the themes that are presented in this rondo. But it is so pleasant I didn’t seem to care. Both the piano and the violin go through these arpeggiated runs that are very virtuosic. We had the initial argument, the developmental conversation and now we have the finale which showcases how the two instruments can work together as a team. The section is very complimentary and highlights the fantastic relationship between the violin and the piano.