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- Jouni Kaipainen
Andamento Trio no. 2, Op. 28 (1986)
- Edition Wilhelm Hansen Copenhagen (World)
Programme Note
I composed TRIO II, ’Andamento’ op 28 in 1986, and it is one of the very few of my works which was not composed as a proper commission. Three Finnish musicians had formed a trio of flute, bassoon and piano, and they asked me to write something for this combination, which I found exciting, as it is a ’remote variation’ of the normal piano trio.
All my works titled ’Trio’ have been scored for different groups of three musicians. What they have in common is the presence of the piano, which has let some music-writers to see this instrument as a kind of ’the composer’s alter ego’. This ’person’, then, gets surrounded by and mixed with different conditions, the writers have said. This may be partly true, and then again not, I wouldn’t know. I myself see these trios as pieces of ’absolute’ chamber music.
When I wrote TRIO II, I was surprised by the fact that this combination, quite rarely used, sounds so well and works very effectively. As music, TRIO II is a gradually growing and proceeding phantasy, which finds its form from the demands of the material which, in turn, itself to me sounds slightly ’impressionistic’. The subtitle ANDAMENTO (or is it the real title?) is an old term of fugue analysis, referring to the ’free’ sections of a baroque fugue, as opposed to the ’strict’ sections (called ’sogetto’). Naturally, I myself here want to underline the ’fantastic’ character of the music.
Jouni Kaipainen
All my works titled ’Trio’ have been scored for different groups of three musicians. What they have in common is the presence of the piano, which has let some music-writers to see this instrument as a kind of ’the composer’s alter ego’. This ’person’, then, gets surrounded by and mixed with different conditions, the writers have said. This may be partly true, and then again not, I wouldn’t know. I myself see these trios as pieces of ’absolute’ chamber music.
When I wrote TRIO II, I was surprised by the fact that this combination, quite rarely used, sounds so well and works very effectively. As music, TRIO II is a gradually growing and proceeding phantasy, which finds its form from the demands of the material which, in turn, itself to me sounds slightly ’impressionistic’. The subtitle ANDAMENTO (or is it the real title?) is an old term of fugue analysis, referring to the ’free’ sections of a baroque fugue, as opposed to the ’strict’ sections (called ’sogetto’). Naturally, I myself here want to underline the ’fantastic’ character of the music.
Jouni Kaipainen