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      Antonio Vivaldi and Franz Schubert

      Schubert in 1825 (watercolor by Wilhelm August Rieder)

      Schubert in 1825 (watercolor by Wilhelm August Rieder)

      Antonio Vivaldi (1678-1741)

      Concerto for Cello, Strings & Continuo in E minor (arr. By Paul Bazelaire) (orig. pub. 1740)

      Lynn Harrell, solo cello; Benny Kim & Kathleen Brauer, violins; L. P. How, viola; Joseph Johnson, cello; Kristen Bruya, bass; Kathleen McIntosh, harpsichord

      Cellist Lynn Harrell has long been an important member of the musical community in Santa Fe.

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      This Vivaldi E Minor Cello Concerto started life as a sonata, becoming one of this prolific composer’s most popular works for cello with accompaniment. As artistic director Marc Neikrug notes, it might have stayed that way were it not for the intervention of Paul Bazelaire, the French cellist and composer who was a Professor of Cello at the Paris Conservatory in the first half of the 20th Century.

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      As you can hear in this clip, Marc clearly has a great deal of respect for Lynn Harrell.

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      Franz Schubert (1797-1828)

      Piano Trio in B-flat Major, D. 898

      Benny Kim, violin; Lynn Harrell, cello; Jeremy Denk, piano

      Kerry Frumkin and Marc Neikrug discuss the challenges Schubert faced in composing his Piano Trio in B-flat Major, D. 989. “When Schubert’s at his best, which this is,” says Marc, “there isn’t a moment when there isn’t new invention.”

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      Some people, Kerry notes, think this Schubert piano trio foreshadows Brahms. Marc says the two composers shared a depth of rich, romantic, lyrical expression.

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      Kerry asks Marc about the kind of ensemble necessary to play this piece well.

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