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Musik für Violine, Violoncello und Klavier: Chamber Trio

$59.00 USD
$59.00 USD
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Musik für Violine, Violoncello und Klavier Cover Image
Musik für Violine, Violoncello und Klavier: Chamber Trio

Musik für Violine, Violoncello und Klavier: Chamber Trio

By Bernd Franke

Level: Advanced

Item: 98-EP14798
$59.00
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In the summer of 1989, I spent two months as a Bernstein Fellow at Tanglewood in the USA.



Tanglewood. In addition to working with Lukas Foss, Leonard Bernstein, Oliver Knussen and Louis Krasner. I also regularly attended conducting courses there given by Kurt Sanderling, Gustav Meier, Roger Norrington and Jeffrey Tate. During this time, I received special human and material support from Kurt Sanderling and his wife, among others. Sanderling and his wife. It was also his wife who made direct contact with one of her sons, the cellist sons, the cellist Michael, who had already performed the world premiere of my Chagall première of my Chagall music for orchestra with the Gewandhaus Orchestra in 1988. For Michael Sanderling and his trio colleagues Antje Weithaas and Gerald Fauth, I wrote my composition three years later my composition ‘Music for violin, cello and piano (Hope as a Breath...)’ commissioned by the Schleswig-Holstein Music Festival. The subtitle is not a quotation, not a programme, not a reference to a lyrical background, solely an expressed thought about feelings and a personal mood when composing feelings and a personal mood while composing at this time in spring 1992. Musically, I am already very close to the organic composing of the mid and late 90s. the mid and late 90s, have more Asian intentions than European ones, think more of Isang Yun and Takemitsu Isang Yun and Takemitsu rather than Bartok or Webern (although both European composers were European composers were very important to me for a while). Two polarities stand in opposition to each other: unison playing of the strings with recurring recurring proliferating cells and phrases and restless, nervous patterns in the piano, also growing and proliferating. Both elements are opposed to each other at the beginning, then combined, exchanged, transformed. In principle, the whole piece is built up from these germ cells, motifs, sounds, blocks are formed and structured.



Bernd Franke



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Additional Details
Series: Edition Peters
Publisher: Edition Peters
ISBN10: 0-577-02535-X
ISBN13: 979-0-577-02535-3
SKU: 98-EP14798

More about this title

About the Composer: Bernd Franke

Bernd Franke studied composition during a formative period at Tanglewood in the summer of 1989, where he worked with Leonard Bernstein, Lukas Foss, and Oliver Knussen. This experience shaped his artistic direction toward the organic, process-driven compositional language that would define his work in the 1990s.

Franke's musical thinking draws more from Asian aesthetics than European tradition, particularly the introspective sonorities of Isang Yun and Takemitsu. His chamber works reflect this expanded harmonic vocabulary and meditative approach to instrumental writing.

Why we love this

Franke writes chamber music that sits at the intersection of European and Asian musical traditions, creating textures that feel both contemporary and organic. The work was commissioned by a major festival and premiered by world-class soloists, which speaks to its artistic substance and performance-ready craftsmanship.

What to expect

The piece draws on non-European musical sensibilities while maintaining sophisticated European compositional technique, creating an introspective and organically unfolding sonic landscape. It breathes with moments of stillness punctuated by active musical thought.

Who it's for

Advanced chamber musicians ready to engage with post-tonal, contemporary writing. This work demands secure technique, independent part-reading, and interpretive maturity from all three players.

How to get the most out of it

  • Balance the three instruments as equal voices rather than treating the piano as accompaniment; each line deserves clarity and presence in the ensemble sound.
  • Attend to the subtitle's emotional terrain (Hope as a Breath...) as a compositional intention; this shapes phrasing and dynamic shaping across the trio.
  • Invest rehearsal time in synchronizing the ensemble's approach to silence and space, which are integral to the work's contemplative character.

How to use it

Program this alongside other contemporary chamber works or as part of a concert exploring cross-cultural musical influences. It works well in an intimate recital setting where the audience can absorb its contemplative arc.

Skills your students will build

  • Reading contemporary notation and post-tonal harmonic language
  • Balancing independence with ensemble cohesion in three-part writing
  • Sustaining long-form musical narratives with minimal thematic repetition
  • Interpreting compositional intention from a work's subtitle and historical context

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