- 1Allegretto VivaceTrio for Flute, Cello & Piano (Movement i)
- 2AndanteTrio for Flute, Cello & Piano (Movement ii)
- 3Alla ValseTrio for Flute, Cello & Piano (Movement iii)
- 4PrestoTrio for Flute, Cello & Piano (Movement iv)
- 5Allegro Moderato ma con motoSonata for Violin & Piano (Movement i)
- 6Melodia AllegrettoSonata for Violin & Piano (Movement ii)
- 7Andante Tranquillamente, Allegro moltoSonata for Violin & Piano (Movement iii)
- 8Allegro ModeratoPiano Trio (Movement i)
- 9AllegrettoPiano Trio (Movement ii)
- 10Adagio, Al legret to graziosoPiano Trio (Movement iii)
Rob Keeley: Chamber Music
Fidelio Trio, Rowland Sutherland
- ComposerRob Keeley
- FlautistRowland Sutherland
- Fidelio TrioDarragh Morgan, Mary Dullea & Robin Michael
- ProducerNicola Moro
- Creative DirJohn Bevan
- Exec ProducerAdrian 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.
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."