ANTONÍN DVOŘÁK – PIANO TRIO NO. 4 IN E MINOR, OP. 90, “DUMKY” (1891)

Dvořák’s “Dumky” Trio is a uniquely structured and emotionally rich work that departs from the traditional sonata format. Composed of six movements, each is a self-contained dumka—a Slavic musical form that shifts between mournful introspection and exuberant dance. Rather than developing themes through classical architecture, Dvořák paints a sequence of contrasting emotional vignettes, rooted in Czech folk tradition.

I.   Lento maestoso – Allegro quasi doppio movimento
A dramatic opening where dark, rhapsodic chords give way to an urgent, animated folk dance.

II.  Poco adagio – Vivace non troppo
A gentle lullaby unfolds into playful, syncopated rhythms full of rustic charåm.

III.  Andante – Vivace non troppo – Allegretto
A wistful melody gradually blossoms into a graceful, lively dance with waltz-like character.

IV.  Lento maestoso – Vivace
The trio closes as it began—with solemn chords that erupt into a jubilant finale, full of rhythmic vitality and nationalistic spirit.

JOAQUÍN TURINA – PIANO TRIO OP. 91, “CÍRCULO” (1942)

Joaquín Turina’s Círculo (1942) is a refined, three-movement piano trio that captures the poetic flow of a single day. Written late in his life, the work reflects Turina’s mature style, blending Spanish folk color with French impressionistic nuance.

I.  Amanecer (Dawn)
The first movement opens with quiet, mysterious textures that gradually brighten—suggesting the gentle unfolding of dawn. The melodies emerge with hopeful serenity, evoking the stillness and subtle beauty of early morning.

II. Mediodía (Midday)
The second movement bursts with energy, capturing the vibrancy and warmth of the midday sun. Lively rhythms and bright exchanges between instruments reflect Turina’s Andalusian roots, offering a moment of brilliance and spirited interaction.

 III.  Crepúsculo (Twilight)
The final movement brings the day to a close with a sense of introspection and calm. Hazy harmonies and lyrical lines paint the peaceful hues of dusk. Echoes of the first movement return, completing the “circle” (círculo) and giving the piece a cyclical, unified form.

BEDŘICH SMETANA – PIANO TRIO IN G MINOR (1855)

Composed in 1855 following the tragic death of his beloved daughter, Smetana’s Piano Trio in G minor is a deeply personal and emotionally charged work. Far beyond lyrical mourning, the trio reflects a storm of grief, passion, and national identity. It stands out as one of the most intense and expressive chamber works of the Romantic era.

I.  Moderato assai
The piece opens with a sorrowful and impassioned violin melody, setting the tone for a movement filled with anguish and despair. A contrasting, tender theme—perhaps a remembrance of his daughter—briefly offers solace before the music returns to its dark, urgent drive. 

II. Allegro, ma non agitato – Alternativo I. Andante – Alternativo II. Maestoso
Folk-like rhythms and a pastoral mood evoke a more optimistic spirit, as if momentarily rising above sorrow. Reminiscent of Schumann’s lyrical style, this movement blends rustic charm with emotional depth.

III. Finale – Presto
The final movement is restless and dramatic, with surging energy and abrupt mood shifts. Themes are revisited and transformed, culminating in a cathartic and powerful conclusion.

Felix Mendelssohn’s father, Abraham Mendelssohn, was a prominent banker in Hamburg, and his grandfather, Moses Mendelssohn, was a famous philosopher. Unlike many musicians, Felix ("the lucky one") Mendelssohn was born into a wealthy family. He enjoyed the refined hobbies of the Victorian era, reflecting his elegant appearance, which is also evident in his works. Mendelssohn, though a contemporary of Romantic composers like Chopin, Schumann, and Liszt, maintained a more classical image. Nevertheless, his chamber music, especially his piano trios, expresses a passion typical of Romanticism.

Mendelssohn's piano trios include No. 1 in D minor, Op. 49, and No. 2 in C minor, Op. 66. Composed six years apart, both works are in minor keys but have distinct characters. D minor No. 1 is especially beloved, with Schumann calling it "the best piano trio since Beethoven." Composed in 1839, it is filled with familiar, lyrical themes and brimming with vitality and elegance. In contrast, C minor No. 2, composed in 1842, is considered more mature and musically developed. Both pieces share a Romantic sensibility, but No. 2 is more passionate and intense. The balance among the three instruments is outstanding, and the work displays more sophisticated structures, clearer motives, creative modulations, a wider harmonic range, and a deep focus on the use of instruments. In short, this piece is a testament to Mendelssohn’s intense desire for self-expression at the height of his life.

Piano Trio in D minor, Op. 49
1st Movement: Molto allegro ed agitato, D minor, 3/4
The piece begins with the cello, which plays the first theme with deep and intense timbre. This theme evokes a stormy atmosphere, mixing sorrow and passion. The violin then takes over the theme and expands it dramatically, as the two instruments engage in an intense exchange of emotions. The second theme, led by the piano, is bright and lyrical, offering a brief moment of relief, like sunlight breaking through the clouds. The development section grows progressively more dynamic, and in the recapitulation, the strings provide a momentary calm before the tension builds again, reaching a climax. The movement concludes with a breathless exchange between the piano and strings, vividly depicting the complexity and conflict of human emotions.

2nd Movement: Andante con moto tranquillo, B-flat Major, 4/4
This movement beautifully merges lyricism with Romantic sentiment, reminiscent of Mendelssohn’s "Songs Without Words." The middle section transitions into a darker tone, with a sorrowful melody emerging. The theme reappears toward the end, as the strings and piano harmonize, and the movement concludes peacefully.

3rd Movement: Scherzo: Leggiero e vivace, D Major, 6/8
This movement is a lively and playful Romantic scherzo, full of Mendelssohn’s characteristic rhythmic energy and lightheartedness. The cello and violin alternate quick, cheerful rhythms, and the middle section features a dark play of tension and relief. The movement ends quietly, like a calm after a busy commotion.

4th Movement: Allegro assai appassionato, D minor, 4/4
This movement begins with powerful energy, as the piano leads a bold and decisive rondo theme. The strings follow, creating brilliant harmonies. As the theme repeats, new elements are added, heightening the movement’s energy. The development section features contrapuntal interactions between the instruments, and the piano’s continuous arpeggios drive the flow. After reaching a climax, the coda concludes the movement with a dramatic rhythmic finish.

Piano Trio in C minor, Op. 66
1st Movement: Allegro energico e con fuoco, C minor, 4/4
Structured in sonata form, this movement begins with the piano playing the first theme in unison, followed by the strings, which echo and develop the theme. The second theme is presented by the strings, and both themes develop dynamically throughout the movement. The strings’ expressive melody, especially in the middle section, leaves a powerful impression. The recapitulation clearly expresses the second theme, leading naturally into the coda.

2nd Movement: Andante expressivo, E-flat Major, 6/8
The piano introduces the main theme with slow, lyrical harmonies, followed by the violin and cello. In the middle section, the strings take over the melody, and in the third section, they revisit the theme with delicate yet passionate expressions. A minor melody briefly shifts into a darker tone with rich textures, creating an emotional moment. Mendelssohn described this movement as "especially dear to me," comparing it to "a walk-in perfect weather with the sound of water in the background."

3rd Movement: Scherzo (Molto allegro quasi presto), G minor, 2/4
This scherzo is full of exuberance, showcasing Mendelssohn’s signature brilliant effects. The piece is in ternary form, transitioning to G major in the middle section, where the strings take the lead. The third section reprises the first theme and reintroduces the G minor scherzo. The lively and joyful transitions create a dynamic and captivating atmosphere.

4th Movement: Finale (Allegro appassionato), C minor, 6/8
Mendelssohn reportedly put special effort into crafting a grand conclusion for this finale. The movement develops freely in a passionate and fast sonata form. The cello introduces the powerful first theme, followed by the strings in unison, bringing the second theme into E-flat major. The development revisits the first theme, and the piano plays a chorale from Bach’s Cantata 130 ("Before Your Throne") with ornate decorations, leading into the coda, which concludes with a majestic and triumphant finish.

Invierno Porteño
Astor Piazzolla, from Buenos Aires, Argentina, transformed traditional tango, elevating it from simple dance music to a more introspective, concert-style "nuevo tango." His revolutionary work, "The Four Seasons of Buenos Aires," demonstrates this shift. Uniquely, the seasons are arranged out of the traditional order: Summer (1964), Autumn (1969), Spring (1970), and Winter (1970). Piazzolla cleverly references Vivaldi’s "Four Seasons" while reinterpreting familiar motifs in his distinct Argentine style.

"Invierno Porteño" ("Buenos Aires Winter") captures the essence of a Buenos Aires winter. The piece evokes both melancholy and passion, conjuring images of bustling harbors, cold winds, and warm nostalgic moments. Traditional tango rhythms blend with rich modern harmonies, painting a vivid picture of the city. Piazzolla masterfully fuses classical and tango elements to express the soul of an Argentine winter, offering the audience a deeply moving and captivating experience.

This is My Father’s World
This hymn’s lyrics were written by the American pastor M. D. Babcock (1858–1901). Pastor Babcock served in Rockport, Niagara County, New York, and was known for enjoying walks by Lake Ontario. It is said that while walking, he would often say to his wife, "I am going out to see the Father’s world." These words became the inspiration for the hymn.

1. This is my Father's world, and to my listening ears.  All nature sings, and round me rings, the music of the spheres./ This is my Father's world: I rest me in the thought. Of rocks and trees, of skies and seas, His hand the wonders wrought. 

2. This is my Father's world: the birds their carols raise, the morning light, the lily white, declare their Maker's praise.
This is my Father's world: He shines in all that's fair; In the rustling grass I hear Him pass, He speaks to me everywhere.

3. This is my Father's world: O let me ne'er forget. That though the wrong seems oft so strong, God is the Ruler yet.
This is my Father's world: Why should my heart be sad? The Lord is King: let the heavens ring! God reigns; let earth be glad!

Day by Day
This hymn beautifully expresses the faith of a believer who relies on the Lord in life's struggles. The lyrics were written by the Swedish poet Lina Sandell (1832–1903). As a sickly child, Lina often spent time in her father’s study, rather than playing with other children. She had a special love and respect for her father, a Lutheran pastor. At the age of 26, Lina tragically witnessed her father drowning while they were on a boat trip at Lake Vättern. She wrote this poem three years after the incident, in 1865. The Swedish musician Oscar Ahnfeldt (1813–1882) composed the music for it in 1872, and it was included in American hymnals by the late 1920s. The song has since become a great source of strength and comfort to many.

1. Day by day, and with each passing moment, strength I find to meet my trials here;
Trusting in my Father’s wise bestowment, I’ve no cause for worry or for fear.
He, whose heart is kind beyond all measure, gives unto each day what He deems best,
Lovingly its part of pain and pleasure, mingling toil with peace and rest.

2. Every day the Lord Himself is near me, with a special mercy for each hour;
All my cares He fain would bear and cheer me, He whose name is Counsellor and Pow’r.
The protection of His child and treasure, is a charge that on Himself He laid;
“As thy days, thy strength shall be in measure,” This the pledge to me He made.

3. Help me then, in every tribulation, so to trust Thy promises, O Lord,
That I lose not faith’s sweet consolation, offered me within Thy holy Word.
Help me, Lord, when toil and trouble meeting, e’er to take, as from a father’s hand,
One by one, the days, the moments fleeting, till with Christ the Lord I stand.

My Tribute
Andraé Crouch began working at the Los Angeles Center of Teen Challenge, a faith-based organization helping individuals with issues like drug addiction, when he was 18. On his first day, he met and befriended Larry Reed, a former convict who was an atheist at the time. However, after listening to Andraé's Crouch’s songs, Larry became a Christian. One day, Larry called Andraé to tell him that he had a dream, in which he believed that one of Andraé’s songs would be known worldwide. He encouraged Andraé to read John 17, which contains Jesus’ prayer for glorification, saying: “I have glorified thee on the earth: I have finished the work which thou gavest me to do. And now, O Father, glorify thou me with thine own self with the glory which I had with thee before the world was.” The following morning, Andraé woke up humming the melody for “To God Be the Glory.” Within 10 minutes, he had written the music down.

How can I say thanks, for the things You have done for me?
Things so undeserved, yet You gave to prove Your love for me
The voices of a million angels could not express my gratitude
All that I am and ever hope to be, I owe it all to Thee

To God be the glory, to God be the glory, to God be the glory, for the things He has done

With His blood He has saved me, with His power He has raised me
To God be the glory, for the things He has done

Oh, just let me live my life, let it pleasing, Lord to Thee
And if I gain any praise, let it go to Calvary (Calvary)

Oh, with His blood (His blood) He has saved me (He has saved me)
With His power (His power) He has raised me (He has raised me)
To God (to God) be the glory (glory), for the things He has done