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�enneth �uchs
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FALLING
TRIO
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for Piano, Violin and Violoncello
FULL SCORE
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Duration: approximately  minutes
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Composed especially for Trio21
Jeffrey Biegel, Kinga Augustyn, Robert deMaine
in honor of their ‒ inaugural season
alling Trio was composed at the request of pianist Jeffrey Biegel. A long-time friend and Juilliard classmate, Biegel
established Trio21 with violinist Kinga Augustyn and cellist Robert deMaine and asked that I write a work for the
group’s ‒ inaugural season.
The trio grows out of the theme for my large-scale vocal-orchestral work Falling Man, inspired by Don DeLillo’s 
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post- ⁄ novel Falling Man. DeLillo’s novel about the events, aftermath and changed lives of  ⁄, enthralled me. I was riveted
in particular by the dramatic opening prologue, in which the novel’s protagonist stumbles out of the falling rubble of the
World Trade Center. DeLillo’s unflinching description of raw terror and absolute chaos provided a standpoint from
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which I could begin to come to terms as a composer with the shocking and world-changing events of that fateful morning.
The Falling Man theme also provided the inspiration for my seven Falling Canons for solo piano, composed in  and
dedicated to Christopher O’Riley.
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The Falling Man theme begins on the pitch B and is organized around a sequence of  different descending pitches.
In Falling Trio, the compositional manipulation of the theme’s  pitches does not strictly adhere to classic dodecaphonic
procedures — the pitches and their permutations are taken up in various melodic and harmonic combinations and provide
the basis for musical development and transformation over the course of one extended movement. As the work moves
forward from its ethereal opening — each of the three instruments floating down in a strict three-part canon from their
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highest registers — Falling Trio becomes a set of seven fantasy variations on the Falling Man theme. The introductory
canon states the theme pitched on B, and the subsequent variations are based on successive ascending scalar pitches
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(the opposite of the seven Falling Canons for piano, in which successive canons are based on descending pitches). Falling Trio
also features a lyrical “reconciliation theme,” interpolated twice in the work, with which the instruments attempt to
reconcile the work’s tonal and non-tonal musical language.
Following is the compositional design of Falling Trio:
sa
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Introduction:
Variation :
Reconciliation theme:
Variation :
Variation :
Variation :
Variation :
Variation :
Reconciliation theme:
Variation :
measures ‒ (three-part canon pitched on B)
measures ‒ (pitched on C)
measures ‒
measures ‒ (pitched on D)
measures ‒ (pitched on E-flat)
measures ‒ (pitched on F)
measures ‒ (pitched on G)
measures ‒ (pitched on G)
measures ‒
measures – end (pitched on A)
Falling Trio was composed from October through December  in Mansfield Center, Connecticut. I extend my sincere
thanks to Jeffrey Biegel for suggesting this work and to Dr. Robert Schiff for generously supporting the creation of Falling Trio.
— Kenneth Fuchs
FALLING TRIO
for Piano, Violin and Violoncello
KENNETH FUCHS
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Premiered by Trio21 (Jeffrey Biegel, Kinga Augustyn, Robert deMaine)
September 18, 2011, Bargemusic, Brooklyn, New York
Full Score
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Copyright © 2011 by Piedmont Music Company
International Copyright Secured All Rights Reserved
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Kenneth Fuchs - Falling Trio
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Kenneth Fuchs - Falling Trio
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B <q=q> Adagio cantabile (l'istesso tempo) h=63
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Kenneth Fuchs - Falling Trio
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[allow notes in this clef to ring]
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