The Washington Post
The Washington Post is a major American daily newspaper published in Washington, D. C. with a particular emphasis on national politics and the federal government. It has the largest circulation in the Washington metropolitan area, its slogan "Democracy Dies in Darkness" began appearing on its masthead in 2017. Daily broadsheet editions are printed for the District of Columbia and Virginia; the newspaper has won 47 Pulitzer Prizes. This includes six separate Pulitzers awarded in 2008, second only to The New York Times' seven awards in 2002 for the highest number awarded to a single newspaper in one year. Post journalists have received 18 Nieman Fellowships and 368 White House News Photographers Association awards. In the early 1970s, in the best-known episode in the newspaper's history, reporters Bob Woodward and Carl Bernstein led the American press' investigation into what became known as the Watergate scandal, their reporting in The Washington Post contributed to the resignation of President Richard Nixon.
In years since, the Post's investigations have led to increased review of the Walter Reed Army Medical Center. In October 2013, the paper's longtime controlling family, the Graham family, sold the newspaper to Nash Holdings, a holding company established by Jeff Bezos, for $250 million in cash; the Washington Post is regarded as one of the leading daily American newspapers, along with The New York Times, the Los Angeles Times, The Wall Street Journal. The Post has distinguished itself through its political reporting on the workings of the White House and other aspects of the U. S. government. Unlike The New York Times and The Wall Street Journal, The Washington Post does not print an edition for distribution away from the East Coast. In 2009, the newspaper ceased publication of its National Weekly Edition, which combined stories from the week's print editions, due to shrinking circulation; the majority of its newsprint readership is in the District of Columbia and its suburbs in Maryland and Northern Virginia.
The newspaper is one of a few U. S. newspapers with foreign bureaus, located in Beirut, Beijing, Bogotá, Hong Kong, Jerusalem, London, Mexico City, Nairobi, New Delhi and Tokyo. In November 2009, it announced the closure of its U. S. regional bureaus—Chicago, Los Angeles and New York—as part of an increased focus on "political stories and local news coverage in Washington." The newspaper has local bureaus in Virginia. As of May 2013, its average weekday circulation was 474,767, according to the Audit Bureau of Circulations, making it the seventh largest newspaper in the country by circulation, behind USA Today, The Wall Street Journal, The New York Times, the Los Angeles Times, the Daily News, the New York Post. While its circulation has been slipping, it has one of the highest market-penetration rates of any metropolitan news daily. For many decades, the Post had its main office at 1150 15th Street NW; this real estate remained with Graham Holdings when the newspaper was sold to Jeff Bezos' Nash Holdings in 2013.
Graham Holdings sold 1150 15th Street for US$159 million in November 2013. The Washington Post continued to lease space at 1150 L Street NW. In May 2014, The Washington Post leased the west tower of One Franklin Square, a high-rise building at 1301 K Street NW in Washington, D. C; the newspaper moved into their new offices December 14, 2015. The Post has its own exclusive zip code, 20071. Arc Publishing is a department of the Post, which provides the publishing system, software for news organizations such as the Chicago Tribune and the Los Angeles Times; the newspaper was founded in 1877 by Stilson Hutchins and in 1880 added a Sunday edition, becoming the city's first newspaper to publish seven days a week. In 1889, Hutchins sold the newspaper to Frank Hatton, a former Postmaster General, Beriah Wilkins, a former Democratic congressman from Ohio. To promote the newspaper, the new owners requested the leader of the United States Marine Band, John Philip Sousa, to compose a march for the newspaper's essay contest awards ceremony.
Sousa composed "The Washington Post". It became the standard music to accompany the two-step, a late 19th-century dance craze, remains one of Sousa's best-known works. In 1893, the newspaper moved to a building at 14th and E streets NW, where it would remain until 1950; this building combined all functions of the newspaper into one headquarters – newsroom, advertising and printing – that ran 24 hours per day. In 1898, during the Spanish–American War, the Post printed Clifford K. Berryman's classic illustration Remember the Maine, which became the battle-cry for American sailors during the War. In 1902, Berryman published another famous cartoon in the Post—Drawing the Line in Mississippi; this cartoon depicts President Theodore Roosevelt showing compassion for a small bear cub and inspired New York store owner Morris Michtom to create the teddy bear. Wilkins acquired Hatton's share of the newspaper in 1894 at Hatton's death. After Wilkins' death in 1903, his sons John and Robert ran the Post for two years before selling it in 1905 to John Roll McLean, owner of the Cincinnati Enquirer.
During the Wilson presidency, the Post was credited with the "most famous newspaper typo" in D. C. history according to Reason magazine. When John McLean died in 1916, he put the newspap
John Nicholas Maw was a British composer. Born in Grantham, Maw was the son of Clarence Frederick Maw and Hilda Ellen Chambers, he attended a boarding school, in Wetherby in the West Riding of Yorkshire. His mother died of tuberculosis when he was 14, he attended the Royal Academy of Music on Marylebone Road in London where his teachers were Paul Steinitz and Lennox Berkeley. He studied in Paris with Nadia Boulanger and Max Deutsch. From 1998 until 2008, Maw served on the faculty of the Peabody Institute at Johns Hopkins University, where he taught music composition, he had served on the faculties of Yale University, Bard College, Boston University, the Royal Academy of Music, Cambridge University, Exeter University. In 1960, Maw married Karen Graham, they had a son and a daughter, their marriage was dissolved in 1976. He took up residence in Washington, DC in 1984, living there with his companion Maija Hay, a ceramic artist, until his death, he died at home on 19 May 2009, at age 73, as a result of heart failure with complications from diabetes.
On Sunday 6 November 2011, BBC Radio 3 broadcast a 2-hour tribute called, "Nicholas Maw: A Celebration". The program featured performances of Maw's Violin Concerto, an orchestral suite drawn from his opera, Sophie's Choice, two choral works. Maw is best known for Scenes and Arias for three female voices and orchestra, the orchestral pieces Odyssey and The World in the Evening, the guitar work Music of Memory and a violin concerto written for Joshua Bell, his music has been described as neo-romantic but as modernist and non-tonal. In 2002 an opera, Sophie's Choice, was commissioned by BBC Radio 3 and the Royal Opera House, Covent Garden, it was premièred at the Royal Opera House under the direction of Sir Simon Rattle, afterwards received a new production by stage director Markus Bothe at the Deutsche Oper Berlin and the Volksoper Wien, which had its North American premiere by the Washington National Opera in October 2006. Mezzo-soprano Angelika Kirchschlager, who sang Sophie in London, reprised the title role at the National Opera, joined by American baritone Rod Gilfry as Nathan Landau, the schizophrenic man who rescues Sophie and persuades her to join him in a suicide pact.
Maw prepared a concert suite for orchestra based on the music. A performance of Odyssey took place in BBC's Maida Vale Studios on 9 December 2005, was broadcast on BBC Radio 3 two days later. Simon Rattle has conducted a recording of the work with the City of Birmingham Symphony Orchestra. Eight Chinese Lyrics for mezzo-soprano Requiem for voices & orchestra Flute Sonatina Nocturne for mezzo-soprano & chamber orchestra Six Chinese Songs for contralto & piano Five Epigrams for chorus Our Lady's song, carol for chorus Chamber Music for oboe, horn, bassoon & piano Scenes and Arias for soprano, mezzo-soprano and orchestra Round for children's voices, SATB chorus and piano The Angel Gabriel, choral arrangement of Basque melody Bulalow, carol for chorus One Man Show, opera Arrangement of Corpus Christi Carol for sopranos and piano String Quartet No. 1 Severn Bridge Variation for a composite work with Malcolm Arnold, Michael Tippett, Alun Hoddinott, Grace Williams and Daniel Jones Sinfonia for chamber orchestra Six Interiors for tenor and guitar Sonata for strings and two horns The Voice of Love, Eight Peter Porter songs for mezzo-soprano & piano Double Canon for Igor Stravinsky on his 85th Birthday The Rising of the Moon, three-act opera Concert Music from The Rising of the Moon for orchestra Epitaph-Canon in Memory of Igor Stravinsky for flute, clarinet & harp Five Irish Songs for chorus Personae I, II & III for piano Serenade for orchestra Life Studies for fifteen strings Te Deum for treble or soprano, tenor, SATB chorus and organ Reverdie, five songs for male voices Annes! for unaccompanied SATB chorus Nonsense Rhymes for Children, 20 songs with piano accompaniment La Vita Nuova, five songs for soprano and chamber ensemble The Ruin for SSAATTBB chorus and solo horn Flute Quartet Summer Dances for orchestra Night Thoughts for solo flute String Quartet No. 2 The Old King's Lament for solo double-bass Spring Music for orchestra Little Suite for solo guitar Sonata Notturna for cello & strings Personae IV, V & VI for piano Little Concert for oboe, two horns & strings Odyssey for orchestra Ghost Dances, imaginary ballet for five players The World in the Evening for orchestra Five American Folksongs for voice & piano Music of Memory for solo guitar Three Hymns, for SATB chorus and organ Roman Canticle for baritone, viola & harp One Foot in Eden Still, I Stand for mixed chorus and optional organ Piano Trio American Games for wind orchestra Shahnama for chamber orchestra The Head of Orpheus for soprano & two clarinets Swetė Jesu for chorus Violin Concerto String Quartet No. 3 Dance Scenes for orchestra Voices of Memory for orchestra Hymnus for SATB chorus and orchestra Solo Violin Sonata Stanza for solo violin Narration for solo cello Intrada for string quartet Sophie's Choice, four-act op
San Francisco Symphony
The San Francisco Symphony, founded in 1911, is an American orchestra based in San Francisco, California. Since 1980, the orchestra is resident at the Louise M. Davies Symphony Hall in the City's Hayes Valley neighborhood; the San Francisco Symphony Youth Orchestra and the San Francisco Symphony Chorus are part of the organization. Since 1995, Michael Tilson Thomas has been the orchestra's music director. Tilson Thomas is scheduled to conclude his tenure as the orchestra's music director in 2020, when Esa-Pekka Salonen is scheduled to become the orchestra's next music director. Among the orchestra's awards and honors are an Emmy Award and 15 Grammy Awards in the past 26 years; the orchestra's first concerts were led by conductor-composer Henry Hadley. There were sixty musicians in the Orchestra at the beginning of their first season; the first concert included music by Wagner, Tchaikovsky and Liszt. There were thirteen concerts in the 1911 -- 1912 season. In 1915, Alfred Hertz succeeded Hadley. Hertz helped to refine the orchestra and arranged for the Victor Talking Machine Company to record it at their new studio in Oakland in early 1925.
Hertz led the orchestra during a number of radio broadcasts, including on The Standard Hour, a weekly concert series sponsored by Standard Oil of California. The series began in 1926; the first broadcast aired on the NBC Pacific Network, on October 24, 1926. and the broadcasts continued for more than 30 years. After Hertz's retirement in 1930, two conductors, Basil Cameron and Issay Dobrowen, jointly headed the orchestra. During the Great Depression, the Symphony's existence was threatened by bankruptcy and the 1934–35 season was cancelled. Pierre Monteux was subsequently hired to restore the orchestra. Monteux succeeded to the point where NBC began broadcasting some of its concerts and RCA Victor offered the orchestra a new recording contract in 1941. In 1949, Monteux invited Arthur Fiedler to lead summer "pops" concerts in the Civic Auditorium. Fiedler conducted the orchestra at free concerts in Sigmund Stern Grove in San Francisco and the Frost Amphitheater at Stanford University. Fiedler's relationship with the orchestra continued until the mid-1970s.
When Monteux left the orchestra in 1952, various conductors led the orchestra, including Leopold Stokowski, Georg Solti, Erich Leinsdorf, Karl Münchinger, George Szell, Bruno Walter, Ferenc Fricsay, William Steinberg. Stokowski made a series of RCA Victor recordings with the orchestra in 1952 and 1953. In 1954, the board hired Enrique Jordá as music director. Surviving eyewitness and newspaper accounts describe him as having youthful enthusiasm and charm. Jordá sometimes conducted so vigorously; as the years passed, Jordá failed to maintain discipline or provide sufficient leadership, resulting in inadequate rehearsal of the orchestra George Szell, the longtime music director of the Cleveland Orchestra, guest-conducted the orchestra in 1962 and was so dismayed by the lack of discipline that he publicly condemned Jordá and chastised San Francisco Chronicle music critic Alfred Frankenstein for commending Jordá and the orchestra. Szell's comments, along with growing dissatisfaction among musicians and the public, led the symphony board to dismiss Jordá.
In the fall of 1963, Josef Krips became music director. He became known as a benevolent autocrat, would not tolerate sloppy playing, he soon began to refine the performance of the musicians of the standard German-Austrian repertoire. One of his innovations was an annual tradition on New Year's Eve, "A Night in Old Vienna", devoted to music of Johann Strauss and other Viennese masters of the nineteenth century. Similar concerts continued into the 2000s. Krips would not make recordings with the orchestra, he did. He paved the way for his successor when he invited Seiji Ozawa to guest conduct the orchestra. Krips retired at the end of the 1969–70 season and only returned once, to guest conduct the orchestra in Stern Grove, before his death in 1974. Ozawa's guest appearances had generated interest before he became the symphony's director in 1970. Concerts were sold out, he improved the quality of the orchestra's performances and convinced Deutsche Grammophon to record the orchestra in 1972. A special concert series devoted to Romeo and Juliet, as interpreted by Hector Berlioz, Peter Tchaikovsky, Sergei Prokofiev and Leonard Bernstein's symphonic dances from West Side Story, inspired DG to record the same music with Ozawa.
He introduced a number of innovations, including presenting staged versions of La vida breve by Manuel de Falla and Beatrice and Benedict by Berlioz. He had dancers on the stage for some modern ballets performed by the orchestra. For a few seasons Ozawa used local university choruses when needed, but formed a San Francisco Symphony Chorus to ensure consistent singing. Ozawa purchased a home in San Francisco. However, he agreed to become music director of th
Niccolò Paganini was an Italian violinist, violist and composer. He was the most celebrated violin virtuoso of his time, left his mark as one of the pillars of modern violin technique, his 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions, have served as an inspiration for many prominent composers. Niccolò Paganini was born in Genoa capital of the Republic of Genoa, the third of the six children of Antonio and Teresa Paganini. Paganini's father was an unsuccessful trader, but he managed to supplement his income through playing music on the mandolin. At the age of five, Paganini started learning the mandolin from his father, moved to the violin by the age of seven, his musical talents were recognized, earning him numerous scholarships for violin lessons. The young Paganini studied under various local violinists, including Giovanni Servetto and Giacomo Costa, but his progress outpaced their abilities. Paganini and his father traveled to Parma to seek further guidance from Alessandro Rolla.
But upon listening to Paganini's playing, Rolla referred him to his own teacher, Ferdinando Paer and Paer's own teacher, Gasparo Ghiretti. Though Paganini did not stay long with Paer or Ghiretti, the two had considerable influence on his composition style; the French invaded northern Italy in March 1796, Genoa was not spared. The Paganinis sought refuge in their country property near Bolzaneto, it was in this period. He mastered the guitar, but preferred to play it in intimate, rather than public concerts, he described the guitar as his "constant companion" on his concert tours. By 1800, Paganini and his father traveled to Livorno, where Paganini played in concerts and his father resumed his maritime work. In 1801, the 18-year-old Paganini was appointed first violin of the Republic of Lucca, but a substantial portion of his income came from freelancing, his fame as a violinist was matched only by his reputation as a womanizer. In 1805, Lucca was annexed by Napoleonic France, the region was ceded to Napoleon's sister, Elisa Baciocchi.
Paganini became a violinist for the Baciocchi court, while giving private lessons to Elisa's husband, Felice. In 1807, Baciocchi became the Grand Duchess of Tuscany and her court was transferred to Florence. Paganini was part of the entourage, towards the end of 1809, he left Baciocchi to resume his freelance career. For the next few years, Paganini returned to touring in the areas surrounding Genoa. Though he was popular with the local audience, he was still not well known in the rest of Europe, his first break came from an 1813 concert at La Scala in Milan. The concert was a great success; as a result, Paganini began to attract the attention of other prominent, though more conservative, musicians across Europe. His early encounters with Charles Philippe Lafont and Louis Spohr created intense rivalry, his concert activities, were still limited to Italy for the next few years. In 1827, Pope Leo XII honoured Paganini with the Order of the Golden Spur, his fame spread across Europe with a concert tour that started in Vienna in August 1828, stopping in every major European city in Germany and Bohemia until February 1831 in Strasbourg.
This was followed by tours in Britain. His technical ability and his willingness to display it received much critical acclaim. In addition to his own compositions and variations being the most popular, Paganini performed modified versions of works written by his early contemporaries, such as Rodolphe Kreutzer and Giovanni Battista Viotti. Paganini's travels brought him into contact with eminent guitar virtuosi of the day, including Ferdinando Carulli in Paris and Mauro Giuliani in Vienna, but this experience did not inspire him to play public concerts with guitar, performances of his own guitar trios and quartets were private to the point of being behind closed doors. Throughout his life, Paganini was no stranger to chronic illnesses. Although no definite medical proof exists, he was reputed to have been affected by Marfan syndrome or Ehlers–Danlos syndrome. In addition, his frequent concert schedule, as well as his extravagant lifestyle, took their toll on his health, he was diagnosed with syphilis as early as 1822, his remedy, which included mercury and opium, came with serious physical and psychological side effects.
In 1834, while still in Paris, he was treated for tuberculosis. Though his recovery was reasonably quick, after the illness his career was marred by frequent cancellations due to various health problems, from the common cold to depression, which lasted from days to months. In September 1834, Paganini returned to Genoa. Contrary to popular beliefs involving his wishing to keep his music and techniques secret, Paganini devoted his time to the publication of his compositions and violin methods, he accepted students, of whom two enjoyed moderate success: violinist Camillo Sivori and cellist Gaetano Ciandelli. Neither, considered Paganini helpful or inspirational. In 1835, Paganini returned to Parma, this time under the employ of Archduchess Marie Louise of Austria, Napoleon's second wife, he was in charge of reorganizing her court orchestra. However, he conflicted with the players and court, so his visions never saw completion. In Paris, he befriended the 11-year-old Polish virtuoso Apollinaire de Kontski, giving him some lessons and a signed testimonial.
It was put about, that Paganini was so impressed with de Kontski's skills that he
Ladies in Lavender
Ladies in Lavender is a 2004 British drama film written and directed by Charles Dance, who based his screenplay on a short story by William J. Locke. Ladies in Lavender is set in picturesque coastal Cornwall, in a tight-knit fishing village in 1936. A gifted young Polish violinist from Kraków, Andrea is sailing to America when he is swept overboard from his ship in a storm; when the Widdington sisters and Ursula, discover the handsome stranger washed up on the beach below their house, they nurse him back to health. However, the presence of the musically talented young man disrupts the peaceful lives of the sisters and the community in which they live. Holidaying artist Olga Danilof, the sister of famed violinist Boris Danilof, becomes interested in Andrea after hearing him play the violin. Olga writes a letter to the sisters, telling them who she is and that she would like to introduce her brother to Andrea. Instead of giving him the letter, understanding her sister has feelings for Andrea, Janet burns it.
As time progresses and Andrea grow closer, one day Andrea angrily confronts the sisters about the letter. Andrea, realizing that Ursula has feelings for him, apologizes for getting angry and they reconcile. Olga tells her brother of Andrea's talent, he asks to meet Andrea in London; when Andrea meets with Olga to discuss the letter from her brother, she tells him that they must leave on a train because her brother is only in London for 24 hours. Although Andrea cares for the sisters, he knows this is his chance to start a career, he leaves with Olga without saying goodbye; the sisters, worried that something has happened to him, call a friend of Andrea's who tells them he saw Andrea and Olga getting on a train. Thinking she'll never see him again, Ursula is heartbroken and Janet consoles her as best as she can. Andrea sends them a letter, along with a portrait of himself painted by Olga, thanking them for saving his life; the sisters travel to London to attend Andrea's first public performance in Britain, while the rest of the village listens in on the wireless.
William Locke's original story was first published on 26 December 1908 in Collier's magazine, Vol.42 appearing in book form in his short-story collection Faraway Stories. The film marked the directorial debut of actor Charles Dance. Longtime friends Maggie Smith and Judi Dench were appearing together in a play in London's West End when Dance first approached them about the project, they accepted his offer without reading the script, they said in the film featurette Ladies In Lavender: A Fairy Tale. The film was the first English-language role for German actor Daniel Brühl. Filming took place in September and October 2003. Exteriors were filmed in Helston, St. Ives and Prussia Cove in Cornwall. Interiors were filmed at the Pinewood Studios in Buckinghamshire; the film's original music was written by Nigel Hess and performed by Joshua Bell and the Royal Philharmonic Orchestra. Hess received a Classical BRIT Awards nomination for Best Soundtrack Composer; the violin music played by Andrea, including compositions by Felix Mendelssohn, Niccolò Paganini, Jules Massenet, Claude Debussy, Pablo de Sarasate and Johann Sebastian Bach, was performed by Bell.
"Ladies in Lavender" – 4:06 "Olga" – 3:31 "Teaching Andrea" – 2:53 "Fantasy for Violin and Orchestra" – 3:40 "Méditation from Thaïs" by Jules Massenet – 5:01 "Our Secret" – 2:01 "On the Beach" – 2:33 "Introduction and Tarantella, Op. 43" by Pablo de Sarasate – 5:16 "The Letter" – 2:25 "Polish Dance – Zabawa Weselna" – 2:41 "Stirrings" – 1:50 "Potatoes" – 1:49 "The Girl With Flaxen Hair" by Claude Debussy – 2:33 "A Broken Heart" – 3:33 "Two Sisters" – 2:22 "The Carnival of Venice" – 9:20 Ladies in Lavender grossed £2,604,852 in the UK and $6,759,422 in the US. Its total worldwide gross was $20,439,793, it received its New York premiere at the 4th Annual Tribeca Film Festival. Prior to its release in the UK, the film was shown at the Taormina Film Festival and the Toronto International Film Festival, it was released as Les Dames de Cornouailles in France, Der Duft von Lavendel in Germany, Lavendelflickorna in Sweden, Parfum de lavande in French-speaking Canada. Both Judi Dench and Maggie Smith were nominated for Best European Actress at the European Film Awards.
Dench was nominated for the ALFS Award for British Actress of the Year by the London Film Critics Circle. The film was positively received by the critics. In his review in The New York Times, critic Stephen Holden wrote: sink into their roles as comfortably as house cats burrowing into a down quilt on a windswept, rainy night... This amiably far-fetched film... heralds the return of the Comfy Movie, the cinematic equivalent of a visit from a cherished but dithery maiden aunt. In this fading, sentimental genre peopled with grandes dames making "grande" pronouncements, the world revolves around tea and misty watercolor memories. Roger Ebert of the Chicago Sun-Times called the film "perfectly sweet and civilized... It's a pleasure to watch Dench together.
Piano Trio No. 1 (Mendelssohn)
Felix Mendelssohn's Piano Trio No. 1 in D minor, Op. 49, was completed on 23 September 1839 and published the following year. The work is scored for a standard piano trio consisting of violin and piano; the trio is one of Mendelssohn's most popular chamber works and is recognized as one of his greatest along with his Octet, Op. 20. During the initial composition of the work, Mendelssohn took the advice of fellow composer Ferdinand Hiller to revise the piano part; the revised version was in a more romantic, Schumannesque style with the piano given a more important role in the trio. Indeed, the revised piece was reviewed by Schumann, who declared Mendelssohn to be "the Mozart of the nineteenth century, the brightest musician, who most understands the contradictions of the age and is the first to reconcile them." The trio has four movements: Molto allegro ed agitato Andante con moto tranquillo Scherzo: Leggiero e vivace Finale: Allegro assai appassionato A typical performance lasts just under 30 minutes.
The first movement is without an introduction. It begins with a cantabile main theme played by the cello, with the piano providing a syncopated accompaniment; the violin joins the cello with a distorted version of the theme. Further variations of the main theme fill the transition to the second theme introduced by the cello, in A major. Mendelssohn combines both themes in the development, predominately in D minor, the key in which the movement ends. In the recapitulation, Mendelssohn adds a violin counter-melody to support the return of the original theme; the piano introduces the second movement, with the eight bar melody in the right hand and the accompaniment divided between the hands, as in a number of Mendelssohn's Songs without Words. Below this, the bass line in the piano moves methodically balancing with the accompaniment and the melody. After the piano plays the main theme, the violin repeats it with a counterpoint played on the cello; the short and light scherzo is in sonata form. As in the second movement, the main theme is first played on the piano, which reduces itself to fragmentary accompaniment immediately.
The rhythmic motif of the main theme is present throughout the movement, except in the more lyrical central section, whose theme resembles material from the first movement. After Hiller gave Mendelssohn his advice, the finale was the most revised movement and unsurprisingly has a busy piano part. Various keyboard techniques are called upon in the movement, from close chords to sweeping arpeggios and chromatic octaves; the cantabile moments provide a refreshing contrast. The trio finishes with a shift to D major shortly before the end. Piano Trio No. 1: Scores at the International Music Score Library Project Performance by the Claremont Trio from the Isabella Stewart Gardner Museum in MP3 format