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Their Roots are Showing

Arthur Foote was a Wagnerian whose Piano Trio No. 2 has an unmistakable American twang; Paul Schoenfield uses an entire century's worth of American popular music in his Cafe Music and Bedrich Smetana struggles to create a Czech national music out of sheer will in his Piano Trio in G Minor.

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• Arthur Foote, Piano Trio in Bb Major, Op. 65
• Paul Schoenfield, Café Music
• Bedrich Smetana, Piano Trio in G Minor

Admission: Free

Their Roots are Showing

Arthur Foote was a Wagnerian whose Piano Trio No. 2 has an unmistakable American twang; Paul Schoenfield uses an entire century's worth of American popular music in his Cafe Music and Bedrich Smetana struggles to create a Czech national music out of sheer will in his Piano Trio in G Minor.

——

• Arthur Foote, Piano Trio in Bb Major, Op. 65
• Paul Schoenfield, Café Music
• Bedrich Smetana, Piano Trio in G Minor

Admission: $20 for adults and $15 for students and seniors

http://www.musicalartsinternational.org/ 
Call (301) 933-3715 for more information

Their Roots are Showing

Arthur Foote was a Wagnerian whose Piano Trio No. 2 has an unmistakable American twang; Paul Schoenfield uses an entire century's worth of American popular music in his Cafe Music and Bedrich Smetana struggles to create a Czech national music out of sheer will in his Piano Trio in G Minor.

——

• Arthur Foote, Piano Trio in Bb Major, Op. 65
• Paul Schoenfield, Café Music
• Bedrich Smetana, Piano Trio in G Minor

Admission: Free

On the Program

• Arthur Foote, Piano Trio in Bb Major, Op. 65
• Astor Piazzolla, The Four Seasons of Buenos Aires
• Bedrich Smetana, Piano Trio in G Minor

Admission: Free

“Quatuor pour la fin du Temps” (“Quartet for the End of Time”) by Olivier Messiaen. 

With Dr. Mark Gallagher, Clarinet

The French composer Olivier Messiaen was a prisoner of war in 1941 at Stalag VIII-A in Görlitz, Germany (now Zgorzelec, Poland). While there, he wrote a short trio for the clarinetist Henri Akoka, violinist Jean le Boulaire and cellist Étienne Pasquier; this piece developed into the Quatuor for the same trio with himself at the piano. The combination of instruments is unusual, but not without precedent. The composition premiered at the camp for an audience of about 400 fellow prisoners and guards on Jan. 15, 1941, and is considered one of the most significant chamber music works of the 20th century.

See http://www.theasburyfoundation.org/news/upcoming-events for more information