FROM THE BOOK: “ESSAYS ON THE MUSIC OF IOSIF ANDRIASOV”
WRITTEN BY MARTA ANDRIASOVA (MARINA KUDRYASHOVA)
IOSIF ANDRIASOV Trio for Violin, Cello, and Piano, Op. 7
In 1957, Iosif Andriasov wrote the Piano Trio for Violin, Cello, and Piano, Op. 7, while studying composition at the Music College of the Moscow P. I. Tchaikovsky State Conservatory, Moscow, USSR, in the class of Grigory Samuilovich Frid. He dedicated the Piano Trio to Grant Aramovich Grigorian, who was Mr. Andriasov’s first composition teacher.
The Piano Trio does not have a declared program, even though there are many details that testify to it. One can detect a hidden program of the composition as an eternal theme of art: confrontation of the hero with fate. The young composer, as well as many Soviet composers of his time, asks and tries to answer, in his own way, the cardinal questions of being: What is the purpose of life? What is the freedom of will and freedom of choice? What is fate? Instead of dissolving the dramatic conflict in the folk-genre images of the last movement that was typical for symphonic and chamber genres of that period, I. Andriasov introduced a new image in the coda of the finale – motif of fate that dramatically concludes the Piano Trio. The conflict is not resolved, awaiting a battle that would come later.
FORESHADOWING FOR THE FUTURE
The Piano Trio foreshadows Mr. Andriasov’s later works: sophisticated harmonic contents of the second theme of the 1st movement, with a jazz flavor – Concertino for Trumpet and Symphony Orchestra; structure of a kernel and its endless elaboration (spinning out technique) – First Symphony.
In his Piano Trio, Iosif Andriasov follows the Classical-Romantic tradition of L. v. Beethoven (Piano Trio ,Op. 1, No. 3, C minor), Pyotr Ilyich Tchaikovsky, Sergei Taneev, Sergei Rachmaninov, and contemporary composers (particularly, the Piano Trio of Arno Babadjanyan).
Victor Romasevich (Violin), Lawrence Granger (Cello), Priscilla Granger (Piano): http://www.youtube.com/watch?v=6hPetFEBQBs