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- Jouni Kaipainen
Trio nr. 1, Op. 21 (1983)
(Trio no. 1)- Edition Wilhelm Hansen Copenhagen (World)
Programme Note
Trio I, op.21, is one of the two compositions of mine in the 80s that was not a commission (the other one is, actually, Trio II, op.28) - all the rest 20 works have been commissioned by someone. I wrote the piece in 1983 for the trio combination Steven Kanoff-Anssi Karttunen-Tuija Hakkila, who also gave its first performance in Helsinki, April the 2nd, 1983.
Trio I is in three movements, and as seems to be my habit when writing works with more than one movement, the movements are quite different from each other. The first and shortest movement is very fast, very nervous and very quiet - maybe hazy is the right word for its atmosphere. The music has naturally been greatly inspired by the virtuoso character of the playing of the above-mentioned ensemble - there are actually some things in the music that I had never heard anybody play before (e.g. ricochet bowing played both downwards and upwards). The second movement, despite some hazardously virtuoso-like passages, is calm and nightly by character - when I wrote this music, I did know that the first performance is going to be with Messiaen's Quatuor pour la fin du temps in the programme, and if somebody thinks that I am greeting the old master in this movement, he is supposingly not altogether wrong. The finale is a game in two tempi, and the very ending presents some ideas from the earlier movements in a quite different situation.
Jouni Kaipainen
Trio I is in three movements, and as seems to be my habit when writing works with more than one movement, the movements are quite different from each other. The first and shortest movement is very fast, very nervous and very quiet - maybe hazy is the right word for its atmosphere. The music has naturally been greatly inspired by the virtuoso character of the playing of the above-mentioned ensemble - there are actually some things in the music that I had never heard anybody play before (e.g. ricochet bowing played both downwards and upwards). The second movement, despite some hazardously virtuoso-like passages, is calm and nightly by character - when I wrote this music, I did know that the first performance is going to be with Messiaen's Quatuor pour la fin du temps in the programme, and if somebody thinks that I am greeting the old master in this movement, he is supposingly not altogether wrong. The finale is a game in two tempi, and the very ending presents some ideas from the earlier movements in a quite different situation.
Jouni Kaipainen