Under the direction of Johan Hock
Relayed from Queen's College, Birmingham
The Grinke Trio: Frederick Grinke (violin); Florence Hooton (violoncello); Dorothy Manley (pianoforte)

A comparatively late work of Brahms. this Trio has from the outset a sense of real bigness. The violin and violoncello alone begin the first big subject in octaves, and the second, more smoothly flowing, grows out of it so naturally that when the pianoforte begins it, it seems to be a continuation of the first. It is a long and elaborate movement, coming to an end with a quicker section in which the pianoforte has a strenuous part while the strings have a slower melody. Writing of this first movement Professor Tovey says that 'the style is grandly energetic with deep shadows of mystery, the mystery of nature rather than romance'.
The theme of the slow movement has that simple folk-song character which Brahms so often contrives to give his tunes. As in the first movement, the two strings begin in octaves while the pianoforte accompanies with chords. Another tune appears first as a pianoforte solo, and the opening returns in a more vigorous form. Then there is a flowing, tranquil section, with a tune which the violoncello begins, to be followed by the violin.
The most striking feature of the Scherzo is the figure made up of rapidly repeated notes played by the strings while the pianoforte rushes upwards in scales. The Trio has a fine, song-like melody which the violin begins with rippling accompaniment, and the Scherzo is repeated.
Again in the last movement the two strings play the first big theme in octaves at the outset while the pianoforte accompanies, and it is they also who introduce the second principal tune, another broad melody. Like the first, the movement is an elaborate one, but, with the two tunes in mind, it is easy to follow and to enjoy.
Ireland's Fantasy Trio, a comparatively early work, presents no difficulty at all to the listener. From beginning to end, it is frankly melodious. There are four sections, played without a break, corresponding to the four movements of a sonata. The sense of unity is obtained by the use of the opening broad melody of the first section, which appears again in the other sections, notably the third.
, at 2.0