Rob Keeley: Chamber Music | Convivium Records International
On this record
Click track titles to listen to previews of all tracks on this record
  1. 1Allegretto Vivace
    Trio for Flute, Cello & Piano (Movement i)
  2. 2Andante
    Trio for Flute, Cello & Piano (Movement ii)
  3. 3Alla Valse
    Trio for Flute, Cello & Piano (Movement iii)
  4. 4Presto
    Trio for Flute, Cello & Piano (Movement iv)
  5. 5Allegro Moderato ma con moto
    Sonata for Violin & Piano (Movement i)
  6. 6Melodia Allegretto
    Sonata for Violin & Piano (Movement ii)
  7. 7Andante Tranquillamente, Allegro molto
    Sonata for Violin & Piano (Movement iii)
  8. 8Allegro Moderato
    Piano Trio (Movement i)
  9. 9Allegretto
    Piano Trio (Movement ii)
  10. 10Adagio, Al legret to grazioso
    Piano Trio (Movement iii)

Rob Keeley: Chamber Music

Fidelio Trio, Rowland Sutherland

  • Catalogue
  • Composer
    Rob Keeley
  • Flautist
    Rowland Sutherland
  • Fidelio Trio
    Darragh Morgan, Mary Dullea & Robin Michael
  • Producer
    Nicola Moro
  • Creative Dir
    John Bevan
  • Exec Producer
    Adrian Green

Rob Keeley: Chamber Music


This CD offers a fascinating selection of Rob Keeley’s chamber works: polished, beautifully crafted music, which conveys a welcome sense of optimism. The performances are exemplary, as might be expected from flautist Rowland Sutherland and the members of the Fidelio Trio.

James Erber – December 2013


Trio for Flute, Cello & Piano

Originally written in 2002, this four-movement work, like all the pieces on this disc, was substantially revised for this recording. It has a somewhat light, Gallic character, as perhaps befits the medium: the opening Allegretto is a sonata movement in fast triple time, including an exposition repeat (I have started to appreciate the psychological value to performers as well as to listeners, of literal repeats!) There follows a lyrical and expansive slow movement, a serenade-like waltz, and a fast, mercurial finale.

Sonata for violin and piano

This was originally written in 1998 but has since undergone extensive and protracted re- writing. As one grows, one’s ears change, they hear and expect different things. I like to think that I have learned in the interim to make the notes ‘work harder.’ A broad, somewhat Brahmsian Allegro opens this Sonata: an unashamedly melodic Andante enfolds a more rhetorical central section, the Finale begins as an aqueous lullaby, turning into a scurrying, exuberant Allegro: the lullaby is recalled towards the end as a chorale in the piano, with pizzicato comments in the violin.

Piano Trio

This work is a conflation of two separate works from the mid-90’s: ‘dead wood’ has been subsequently excised and contrasts have been integrated to create what I hope is a convincing single work: composers from the past wouldn’t have thought twice about such an undertaking. So, the opening Allegro moderato is an extensive revision of what I wrote in 1994, particularly in textural terms: it is also now more concise, although still expansive (I heard and wrote much of this work against the ‘background’ of the trios of Haydn and Schubert). Secondly comes a movement originally entitled ‘Mind Games’, referring to the complex rhythmic layering and juxtaposition of the opening rhythmic motif. The Finale consists of a slow, intensely elegiac, heterophonic melody which eventually thaws into a more relaxed, diatonic Allegretto, the first time I have made use of large-scale tonal contrasts: the whole movement is dedicated to the memory of a much-admired composer, Nicholas Maw."