Nikolai Amani (1872-1904)

Nationality: Russian

Born: April 4, 1872, St. Petersburg Died: October 17, 1904, Yalta (age 32)

imslp

String Trio in d minor, Op. 1

(for violin, viola and cello)

7:59	I.	Allegro moderato
5:02	II.	Andante non troppo
4:27	III.	Intermezzo. Allegro scherzando
6:19	IV.	Finale. Allegro molto

Duration: 24 minutes (approximately)

Published: 1900 (age 27-28)

Dedication: Nikolay Rimsky-Korsakov

2 recordings, 8 videos

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7:58

Trio Amani (score)

I. Allegro moderato

5:01

Trio Amani (score)

II. Andante non troppo

4:26

Trio Amani (score)

III. Intermezzo. Allegro scherzando

6:14

Trio Amani (score)

IV. Finale. Allegro molto

7:59

Trio Amani

I. Allegro moderato

5:02

Trio Amani

II. Andante non troppo

4:27

Trio Amani

III. Intermezzo. Allegro scherzando

6:24

Trio Amani

IV. Finale. Allegro molto

From Edition Silvertrust

Nikolai Amani (1872-1904) was born in the Russian capital St. Petersburg and attended the Conservatory there where he studied piano with Anna Essipova and composition with Rimsky Korsakov and Liadov. Korsakov introduced him to M. P. Belaiev, the wealthy Russian music publisher and amateur violist, and brought him along to Belaiev's famous Les Vendredi, the Friday evening chamber music sessions held at Belaiev's mansion. The trio, which was awarded the top prize by the Russian Musical Society in 1900, was composed to be played at one of Belaiev's Fridays. He contracted tuberculosis, which hampered his ability to compose and subsequently led to his death at an early age. The trio is his only chamber work.

While the trio bears the dedication 'To my dear master Rimsky-Korsakov' his teacher's influence is not evident and this is not a Russian sounding trio. It opens with a melancholy Allegro moderato introduction. The main part of the first movement, Allegro, is characterized by agitation and unrest. The second movement, Andante, has a vocal quality based on a simple melody. The Intermezzo, allegro scherzando, which follows, contains folk melodies and sport a charming and inventive accompaniment. The lively finale, Rondo, allegro molto, has a fleet-footed main theme and two good lyrical secondary subjects. The tonalities are akin to what Central European composers were writing about this time.

The trio does not present any unusual technical difficulties and can be recommended for concert performance and to amateur players.

glossary

allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
andante [I]—moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto
chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
finale [I], final [F]—The final movement, sometimes explicitly titled thus
intermezzo, intermedio [S], intermède [F], interlude, Entr'acte—music that is "inserted" (or "interpolated) between two musical entities of greater importance (e.g. movements, acts, verses, etc.). Often suggests music of a lighter character, entertaining contrast or even improvisation.
moderato [I], moderamente, modéré [F], modérément [F]—moderately, at a moderate tempo, applying a touch of restraint to its related word(s), e.g. allegro moderato
molto [It]—very much
opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
scherzando [I], scherzoso, scherzante—playfully, lively, jestingly
string trio, Streichtrio [G], Trio d'archi [I], Trio à cordes [F], Trío de cuerdas [S] —a work for three stringed instruments, most commonly violin, viola and cello. A more rarefied form than the string quartet perhaps because the texture is sparse (each instrument highly exposed) and the means more difficult for natural harmonic richness. But these become challenges and assets in the great trios. Trios almost always emphasize countrapuntal writing with each of the three players in strong relief.
trio (1)—an ensemble or work for 3 players
troppo [I], non troppo, trop [F]—too, too much. non troppo means "not too much". e.g. "Allegro ma non troppo" means fast, but not too much