GUIDE TO THE STRING TRIO LITERATURE

G uide to the String Trio Litera R ture ay by mon d Si lvert rust

BY RAYMOND

SILVERTRUST EDITOR OF

THE CHAMBER MUSIC JOURNAL

-1- Table of Contents

Introduction and Preface ··································································································· 3 Trios for Violin, Viola and Violoncello ············································································ 6 Trios for 2 Violins and Cello or 2 Violins and Viola ······················································· 24 Index······························································································································· 29

-2- A Guide to the String Trio Literature By Raymond Silvertrust Introduction and Preface professional ensemble. Along the way, I developed a love of the broader chamber music literature to which I was first exposed First, I would like to apologize to my readers. I have hastily through the medium of phonograph records. To my chagrin, typed this entirely myself. And as I have no editor and because I years of concert-going made clear that I was unlikely to ever hear am not a good proof reader, you will find many mistakes, largely such music performed live, either because the professionals did because I have felt, now in my seventh decade, that I am racing not know of the music or because the music was unavailable. against the clock so to speak. I have wanted to make sure that I When I realized this state of affairs, I undertook to obtain some would be able to complete this guide. When it is done, and if I of the music I had heard on disk so that at least I could play it. To have time, I will improve it, add to it and, of course, try to this end, I began to search music stores, antiquarian dealers and eliminate all of the errors I have left behind. libraries both in America and Europe. Later, I used my briefly held position as chamber music critic for a classical music radio he main objective of this guide is to provide both professional and station to further the cause of lesser known but fine chamber mu- amateur chamber music players, as well as concert-goers, with a sic by encouraging many of the groups passing through our city practical guide to the string trio literature. But it is a spe-cial type to examine them. I have, on occasion, sent copies of some of of guide which up until now has not existed in English; these works I unearthed to well-known ensembles currently per- a guide which can be used as an aid to helping explore the wider forming. Additionally, I have served as the editor of and a fre- world of chamber music, most of which in my experience, is vir- quent contributor to The Chamber Music Journal for more than tually unknown to professional musicians as well as the listening 25 years and have headed up The International Cobbett Associa- public. However, this guide is by no means a mere compilation tion for Chamber Music Research for a similar period or time. or an encyclopaedia of works, nor is it an academic treatise which analyzes how a composer actually wrote his music. Over the years, it occurred to me that a guide such as this was needed by players and possibly by listeners. Guides to chamber It is unfortunate that today's concert-goer is presented with the music have appeared from time to time, but have been little more same works over and over again. As far as chamber music con- than detailed analyses of a few famous works. In contrast, Cob- certs go, most of them are by string quartets or piano trios. One bett's marvellous and mammoth Cyclopedic Survey of Chamber almost never hears string trios performed in the concert hall This Music is just that, an encyclopedia, not a practical handbook that can be explained by the fact that there are virtually no permanent the performer, whether professional or amateur, can rely upon in string trios in existence performing regularly before the public. In navigating the literature. most cases the only reason why a string trio concert will be pro- gramed is because it is cheaper than having to pay for a quartet. Despite the fact I recognized the need for a different kind of guide, I did not initially consider the possibility of undertaking it But if on the off chance one does get to hear a string trio concert, myself until a number of my chamber music friends and col- and by this I mean a trio for violin, viola and cello, I can almost leagues, after regularly hearing me complain such a book was guarantee that the selection will be from one of half a dozen needed, suggested I had the knowledge and experience and urged works: Mozarts Divertimento, K.563, Beethoven’s Op.9 or occa- me to write it myself. To this end, I have been fortunate in having sionally the Op.8 Serenade, and Dohnanyi’s Op.10 Serenade. If had the opportunity to play thousands of pieces of chamber music the trio were for 2 Violins and Viola, this generally only happens by several hundred composers and with a strange sense of fore- when a string quartet presents such a work, it will either be the sight, I had in many instances made notes on the pieces played. I Kodaly Trio or Dvorak’s Terzetto. have also been fortunate in collecting a large number of little

known works over the years through my searches. Finally I have So, unfortunately, the reality is that the only way one is going to had the opportunity to hear many works that I would otherwise hear a string trio is either through the medium of records or by never have encountered through the medium of records. playing the music themselves. Given this guide’s main objective, little attention will be expended on famous works mentioned As to the question of whether a work is a good one and deserving above. Instead, it will concentrate on lesser or unknown pieces of attention, the answer unfortunately must be subjective. There which also deserve our consideration. Besides, entire books have is, as they say, no accounting for taste and intelligent men can been devoted to many of these famous works, for example, Bee- differ on such things. Fashion and tastes change over time as thoven's chamber music and there is little, if any more, of im- well. My judgments as to the value of most of the works dis- portance to be said on the subject by anyone writing today. cussed obviously come into play and I make no apology for Hence, this guide will only list such works for the sake of com- them. At the same time, unlike late 19th century Viennese music pleteness. Having said this, if the reader is new to the string trio critics, such as Eduard Hanslick, I do not consider myself a Tsar literature, certainly, the place to begin is with those works al- on the question of Musical Worth. Therefore, I have taken con- ready mentioned. siderable pains to arrive at a composite judgment based not only

on my own feelings but also the opinions of my fellow players With regard to atonal and so-called experimental music, such and performers and in many instances the audiences in front of works will not be included. The players and listeners have now whom I have had the opportunity to perform. This fact has al- been exposed to these works for more than a century and for lowed me to be able to comment with some confidence on those who wish to know the truth, the verdict is in. Despite many fervent supporters and committed performances by professional groups, these works, great as they may be on paper to a musicol- ogist or the student of music theory, are not an experience the -3- average listener generally wishes to repeat.

In authoring such a guide, the reader has the right to inquire as to the qualifications that the writer brings to his or her task. I have had the opportunity to play several times a week and regularly perform chamber music for the past 40 years, mostly in amateur groups, but occasionally as a member of a professional or semi- whether a given work might be well received by an audience or Thomas & Margaret Evans, Beverly Bloom, Girard Miller, Dr. would be fun for an amateur group to read through or to work on. Maurice Burke, Francis & Irene Peterson, Dr. Nicholas Cunning- ham, Dr. James Whitby, Eugene Chang, J. Steven Moore, An- Still, no one person is going to know it all and I make no claim to drew Green, Sylvie Koval, Sally Didrickson, Tom Weyland, Ed- this. Even Cobbett's Cyclopedia , with its several hundred contrib- ward Torgeson, Siegfried Moysich, Carl Fox, Dr. Bernard Res- utors, is incomplete. This fact, in and of itself, was enough to nick, Mordy Rhodes, Lillian Cassey, Joseph Kirschner, Gunther make me consider the hopelessness of what seemed a daunting Fonken, George Smith, Alan Garber, Gerda Bielitz, Beverly undertaking and for a long time, I thought of abandoning it. How- Kaushagen, Steven Spiegel, Rose Ross, Samuel & Paula Golden, ever, upon reflection I concluded my ultimate goal was to broad- Dr. Iris Cosnow, and Frank and Paula Tachau en the general public's knowledge of chamber music and to res- cue as many unjustifiably ignored works as I knew about. It is The String Trio hoped this guide will serve as a catalyst by informing chamber Since around 1800, string trios for violin, viola and violoncello music lovers about the music. have been considered the standard format. However, prior to 1800, it could be argued that the standard string trio was for the When record collectors buy records from those companies offer- combination of two violins and violoncello. More of these were ing new selections, they increase the chances that previously un- written than for any other combination. The composer who wrote recorded works will see the light of day. When professional the most important of such trios was Luigi Boccherini (1743- chamber music groups are urged by their audiences to present a 1805). He composed more trios for this combination than that for wider offering of works from all periods, concert halls will be violin, viola and cello. There were contemporaries of Boccherini, filled with the sounds of new and long-forgotten works. Inevita- such as Felice Giardini (1716-1796) who wrote more of the latter, bly, a by-product of this will be that music publishers will bring but they were in the minority. The trio for two violins and cello out modern reprints and publish new music which in turn will can be directly traced back to the Baroque era and that is no increase its availability among amateur players. (This is some- doubt why it was the more common of the two. But the appear- thing which I have already undertaken by founding a publishing ance of Beethoven’s three Op.9 trios in 1799 can be said to be the firm, Edition Silvertrust, which has, to date, made over 2,000 demarcation line, after which the string trio for violin, viola and chamber works available) So it is with this goal in mind that I cello came to be regarded as the norm. So much so, in fact, that offer the reader this work. after 1800, there were very few trios, and almost none of any importance, written for two violins and cello. As I started writing this guide, I had originally intended to try to include whether the work had been reprinted or generally availa- Additionally, there have been trios for 2 violins and viola, violin ble and or had been recorded in recent times, i.e. during my ac- and 2 violas, viola, cello and bass and perhaps other combina- tive musical life, beginning circa. 1960. But works go in and out tions. Only a handful of such works, such as Dvorak’s Op.74 of print, sometimes quickly, as do recordings. And such infor- Terzetto and Kodaly’s Trio for 2 Violins and Viola, achieved any mation for those reading this guide years in the future would no success, although there are others such as Sergei Taneyev’s doubt be next to useless. That said, I stopped including this infor- Op.21 and Robert Fuchs’ Op.61 Trios for 2 Violins and Viola mation about midway through. which are very fine.

While it is arguable that there is no point in discussing works Raymond Silvertrust which the player is unlikely to ever get a chance to play, I have, Riverwood, Illinois 2015 nonetheless, included many such works, which I consider to be of merit and which I have found at antiquarian music shops. In my experience, if one is persistent, there is a good chance of finding out of print works. There is also the possibility of obtaining such works through university and national libraries. And now, there are several websites dedicated to digitalizing and making availa- ble parts and scores of thousands of works which have never been reprinted.

I wish to briefly acknowledge all of those who have been of espe- cial help to me over the years and without whom this work would not have been possible. Most of these individuals have been my fellow chamber music enthusiasts who joined me in playing through a huge amount of chamber music. Some professionals, some are teachers, and some introduced me to works which I had not known. I must begin with my son and daughter: Skyler Sil- vertrust and Loren Silvertrust. Both are violinists and together, with an army of violists, I have played through more string trios than probably most. Among those who joined me on this adven- ture are Gordon Peterson, Morton & Lura Altschuler, Henry Coretz, Eric Eisenstein, Kathleen Tumminello, Richard Sherman, Jean Mielke, Thalia Collis, Kristen Wilkinson, Dr. Prof. Hugo Zeltzer, Willi Boskovsky, Walter Willinhganz, Herman Essak,

-4- Walther Aeschbacher (1901-69) was a Swiss composer and con- Johann Sebastian Bach (1685-1750) did not write string trios, ductor . His String Trio, Op.21 is in four movements. It is quite however, many arrangements of his sonatas etc. for string trio can effectively written in what might be called a neo-baroque. It is be found such as those on his 3 part inventions published by Inter- entirely tonal, but with many episodes of wayward dissonances national Music Publishers as 15 Terzetti. which are, however, always resolved. This is an excellent work which would make a suitable entry on a concert program. It pre- Ludwig van Beethoven (1770-1827) wrote five trios. The first, sents no real technical difficulties. dating from 1791, is Op.3 in E flat Major . It has the same num- ber of movements, basically in the same order and is in the same Feodor Akimenko (1876-1945) Russian composer key as Mozart’s K.563 Divertimento for string trio. There seems who studied with Rimsky-Korsakov and after the little doubt that it served as Beethoven’s model. The six move- Russian Revolution settled in France. His Op.7 ments are Allegro con brio, Andante, Menuetto allegretto, Ada- String Trio in C Major dates from 1900. Unlike gio, Menuetto and Allegro. This is quite a good work and can be the works of most of Korsakov’s students, it does considered a full-fledged work from his so-called Early Period not sound Russian or even Slavic. It shows some and is the equal of the other trios as well as the Op.18 String French influence, some influence of Scriabin. What Quartets. and shows him in complete command of his material. It melodies it has are on the austere side. It is not an easy work to deserves to be heard in concert occasionally. play, not because it is technically difficult but because it is not only hard to stay together, but also is difficult to achieve a clean His second trio is the Op.8 Serenade in D Major . It also dates ensemble sound. from 1797. It is in 7 movements—Marcia, allegro, Adagio, Menuetto, allegretto, Adagio—Scherzo, allegro molto, Allegretto Franz d’Alquen (1804-1877) was born in the German town of alla polacca, Andante quasi allegretto and Marcia, allegro. This is Arnsberg in the province of Westphalia. He and his pianist broth- an interesting work for a number of reasons. It is clearly a work er Friedrich, who is somewhat better known, emigrated to London intended for concert performance, a show piece. The Marcia, with around 1830 where he remained the rest of his life. His String which he opens and closes the work, is quite unusual. The place- Trio in C Major which was brought out by the London publisher ment of a scherzo within the confines of a slow movement is also Robert Cocks & Co in 1850 a year after it was composed is an very original as is the inclusion of a Polacca. It should be notes example of this kind of composition. It is well-written for all three that the technical demands are perhaps the greatest of any of the voices, has appealing melodies and presents no technical difficul- trios, though they cannot be styled as excessive. It is the only trio, ties. The trio opens with a somber Lento introduction which leads other than Op.9 No.3 in which the cello is asked to play, albeit to a genial Allegro moderato. The second movement, a lyrical briefly, in thumb position. (once in the Polacca). This is a one of a Andante cantabile, is full of charm and has a vocal quality. Next kind work. comes a brisk Allegro scherzo with nicely contrasting trio section. The finale is an effortlessly flowing Allegro grazioso. In 1798, the most famous set of trios was published, his Opus 9. There are three in the set. The first Op.9 No.1 in G Major , in my Nikolai Amani (1872-1904) Russian composer who was a stu- opinion, is the most effective and the best of the set, however, the dent of Rimsky-Korsakov. His Op.1 String Trio was published general consensus seems to be otherwise and has favored the in 1900 and republished by Amadeus Verlag in 1988 but never third. It opens with a soft and suspense filled Adagio introduction recorded. Rimsky-Korsakov’s influence is not evident and this is which leads to the exciting Allegro con brio. The conclusion not a Russian sounding trio. It opens with a melancholy Allegro (coda) to this movement is one of the most exciting in the litera- moderato introduction. The main part of the first movement, Alle- ture as the violin and cello answer each other over the pulsing 16 th gro, is characterized by agitation and unrest. The second move- note double stops in the viola. If the violist doesn’t sound urgently ment, Andante, has a vocal quality based on a simple melody. The excited with its relatively unexciting part, the effect is entirely Intermezzo, allegro scherzando, which follows is perhaps the lost. The second movement is a masterly Adagio, ma non tanto e most memorable of the four movements. The folk melodies sport cantabile, The E Major key makes intonation a bit problematic a charming and inventive accompaniment. The lively finale, Ron- here. A bumptious Scherzo is followed by the piece d’ resistance , do, allegro molto, has a fleet-footed main theme and two good a wonderful Presto, which must fly like the wind but must not lyrical secondary subjects. The tonalities are akin to what Central sound hurried. The ending always brings the house down. Techni- European composers were writing about this time. The trio does cally this trio makes no special demands. not present any technical difficulties and is not hard to play. A reasonably good work. Op.9 No.2 in D Major is in my opinion the weakest and in no way the equal of the Nos. 1 and 3. The opening Allegretto is long- Volkmar Andreae (1879-1962) A Swiss composer er than the thematic material justifies while the ending is nothing and conductor. Director of Zurich’s Tonhalle Or- to write home about. The best movement, and quite a good one chestra for almost half a century. His String Trio in too, is the Andante quasi Allegretto in d minor. Suspense and d minor, Op.29 dates from 1919. This is a very val- interest are maintained throughout. It is as good as similar move- uable addition to the string trio literature, which pre- ments one finds in his middle quartets. A rather pedestrian Me- sents no great technical difficulties. In each of its nutto, allegro follows. The material in the trio is more appealing. three movements the main theme of the first move- The finale, Rondo, Allegro once again is too long in view of the ment, Allegro moderato, makes an appearance, each time treated thematic material and the ending is only ordinary. inventively so that the music remains fresh. This trio can be rec- ommended for concert performance but also to amateurs. Op.9 No.3 is c minor is the only one of any of his trios one ever hears in concert. Admittedly, there are few string trios performing

-5- String Trios for Violin, Viola and Violoncello before the public these days. It is generally held to be his best, but the theme is fully elaborated, things are really moving along. A as I have said, I would put it second. The opening movement, second theme has a whimsical feel. This in turn leads to a lyrical Allegro con spirito is exciting but by no means easy to make melody, given in turn to each voice and played against an effec- sound so. I think the thematic material is carried along more by tive pulsating accompaniment. If this were not enough, suddenly a the key than any intrinsic excellence. It cannot be denied that the brief but wild, turbulent episode, which gives the feel of the sea Adagio con espressione is magnificent. The material is very rich bursts forth. When the storm clouds clear, an uplifting chorale is and the rhythmic patterns intricate. It is in this movement that the sung against a quiet pizzicato accompaniment. The poignant sec- cello once again ascends, albeit briefly, into thumb position. The ond movement, Andante, has a heavy, solemn dirge-like air. The Scherzo, allegro molto e vivace which follows is a hard driving, mood of the Halloween-like Allegro scherzando which follows forward thrusting affair which is very exciting but again requires could not be more different. It is a nervous, fidgety scherzo rush- good ensemble players to achieve this. The finale, to my mind, ing here and there. The slower and lyrical trio section provides though by no means bad, is the weakest of the movements and not fine contrast. The finale, Allegro e con brio, wastes no time get- as exciting as either the opening movement or the scherzo, nor ting going. It explodes out of the starting gate full of energy. can it compare to the thrilling ending of Op.9 No.1. Its playful Again there are episodes of pianistic writing which create ensem- pianissimo ending, clever though it is, is somewhat of an anti- ble headaches for string players, but these are much less promi- climax. nent than in the preceding two trios. Once again there is an effec- tive conclusion. Hermann Berens (1826-1880) a German Com- poser who lived most of his life in Stockholm. He Wilhelm Berger (1861-1911) was a German composed a set of three string trios, his Op.85, in Composer. His one string trio Op.69 in g mi- 1871. These are a valuable addition to the reper- nor , from 1898, is a first class work in every toire, being one of the few sets of trios from the respect. The idiom is that of the late Central mid-romantic era. The one problem one finds is European romantic period. The first movement, various bouts of pianistic writing that requires Lebhaft (lively), begins with a lovely Idyll. The very dexterous string players to bring off. That main theme is warm and charming. The second said, these trios are certainly worthwhile. Op.85 movement, Etwas belebt (somewhat lively), is a No.1 in D Major is the weakest of the set, though not without its set of variations on a march-like theme. The good points. An example of the pianistic writing can immediately fugual variation in the minor is particularly fine. The magnificent be found in the opening bars to the first movement, Allegro viva- Scherzo, Sehr lebhaft (very lively) that follows has the quality of ce. The main theme contains a set of 16 th note flourishes that are a tarantella. The finale has a long, slow introduction, while the suited more to the piano than strings. The thematic material is not main section combines a sense of charming naiveté with the spirit strong enough to hide this problem. The second movement, An- of a humorous prankster. dante Maestoso , is a Schumannesque funeral march with rich deep sonorities. Pizzicato is also used to telling effect.. A charm- Lennox Berkeley (1903-89) was an English ing minuet, Allegro non troppo , comes next. There is a chirpy, up- Composer. His String Trio, Op.19 dates dated Mozartean feel with a contrasting trio section of slightly from 1944. It is a three movement work of darker hue. The main subject to the Rondo-finale, Allegro non relatively short duration. It is tonal with defin- troppo , is graceful and elegant. However, the fast downward- able, sometimes even singable, themes but the plunging and upward-rocketing passages are clearly pianistic and tonalities are contemporary for the time. The do not sit well with strings, especially the lower voices. The coda, opening Moderato has a wayward melody though exciting, is not that easy to put together. presented over a pulsating rhythm in the low- er voices. A second theme is questioning and Op.85 No.2 in c minor is the best of the set. The trio takes its angular. The second movement, Adagio, is subdued and has a inspiration from Mendelssohn whose influence can be heard espe- mournful quality to it. The finale, Allegro, the theme is more de- cially in the coda to the exciting first movement, Allegro agitato. pendent on its rhythm than tonal development. It is angular, puls- This coda brings to mind the Hebrides Overture. It is followed up ing and exciting. This is a fine work. by a lovely pastoral Andante con moto. The third movement, Al- legro patetico, is full of forceful forward propulsion. The naive Antoine Bessems (1806-1868) was Flemish trio section provides a striking contrast and features a sweet coun- composers. His String Trio in E flat Major, try dance melody. The exciting finale, Allegro vivace, is sure to Op.90 was published in 1866, but despite its please any audience which gets the chance to hear it, but pianistic late opus number, it was almost certainly com- writing makes it hard to bring off, especially in the lower voices. posed some decades earlier. Judging from its The ending is quite well done. style, one might well conclude it was composed in the 1820’s or 1830’s. The work, which Bes- Op.85 No.3 in F Major might well have been called Grand Trio sems called "Grand Trio", is, for its time, quite for it is truly written on a large scale. The opening Allegro is a substantial and in five movements. Bessems displays an excellent huge movement brimming with ideas which Berens effectively understanding of the instruments and writes quite well for each of presents. It begins quietly, almost like a pastorale. As the first them. The huge opening movement begins with a solemn and theme is developed, momentum is gradually added. By the time stately Grave introduction, which immediately captures the listen-

-6- er's attention. The main part of the first movement is a lively and Luigi Boccherini (1743-1805) was an Italian upbeat Allegro vivo. Next comes a muscular Scherzo. A charming composer and virtuoso cellist who lived most Andante con moto, somewhat in the form of a serenade, with sim- of his life in Spain serving as composer to the ple but lovely melodies follows. Bessems surprises by inserting a royal court. He composed over 70 string trios, Tempo di Menuetto rather than proceeding directly to the finale. most for 2 violins and cello rather than violin, This is an old-fashioned traditional minuet. The finale, Allegro, viola and cello. However, he did write at least begins in rousing style but soon we hear the influence of Rossini 12 for the latter combination. Virtually all of and the introduction of Italian vocal type melodies. his trios were published in sets of six. The first and best known for this combination is his Op.14, G.95-100 . Adolf Binder (1845-1900) was a Austrian composer. Little is These have remained in print off and on since they were first pub- known about him. His String Trio in C Major, Op.1 was pub- lished in 1772. They all have either three or four movements. lished in 1900, however, judging from the music, it seems unlike- No.1 has three movements and are sometimes known as his ly that it was composed then but rather several decades before as “Great” trios. These works were clearly intended for concert per- it is written in a mid-romantic era idiom. This is a solid, well- formance, perhaps, judging by the difficulty of the cello part with written, four movement work, which can be heartily recommend- its extensive use of thumb position, with Boccherini on the cello. ed to amateurs. It opens with a an Adagio introduction which cre- The first 2 movements of No.1 are excellent, the last falls off in ates suspense. The main movement, Allegro moderato, has a bra- interest. No.2, the only trio set in the minor, is perhaps the best of vura quality, somewhat Mendelssohnian. The second movement, the group, each of its four movements maintains interest through- Allegro scherzando with its trio is cute, but it is the Adagio that out. It is still strong enough to be programmed in concert. Each of follows which makes the strongest impression being lyrical and No.3’s four movements are pretty average, the thematic material dramatic. It is interspersed with Allegro molto interruptions which is not particularly memorable. This is true of the opening move- add further to its interest. The finale, Molto Allegro, has much of ment to No.4, however the last 2 movements are quite good. No.5 the same quality as the opening movement. is one of the stronger trios in the set while only the middle move- ment of No.6’s three movements is at all memorable. These trios Kaspar Bischoff (1823-1893) was a German composer and were last published by Edition Silvertrust around 2008. They teacher. In 1854, he composed his String Trio in c minor, Op.5 . were recorded on Dabringhaus CD# 3378. The other set of six This trio was entered in a competition and received first prize trios for violin, viola and cello, Op.47, G-107-112 appeared in from the judges, Franz Lachner, Louis Spohr and Josef Strauss. It 1793. They are all in 2 movements and nowhere near as ambitious is somewhat surprising that it has found no modern reprint. It is a as the earlier set. They appear to be more on the order of substantial four movement work that begins with an impressive “Hausmusik”, intended for home music making. They present no Beethovian Adagio introduction. The main section is a passionate serious technical problems, the cello part, which was intended for Allegro vivace, which though good, is overly long for the amount the cello-playing Prussian King Frederick William is far more of thematic material, hence detracting from the overall impres- manageable. sion. It could benefit from cuts. The slow movement, Adagio, with its pathos, again recalls Beethoven. (the piano sonata Pa- Alexandre Boëly (1785-1858) was a French thetique and also the slow movement of Op.18 No.3) The scherzo, composer and organist. His Op.5 set of three Allegro, is in 5/8, which must have been unusual for the time, as trios were first published in 1808 and ap- the publisher includes 2 whole paragraphs informing players how peared to be modelled after and sound a great it is to be done. Bischoff appears to have had Beethoven’s Op.18 deal like Beethoven’s Op.9 trios although No.4 in mind, but nonetheless the music is original and not imita- each of them are written on a much larger tive. The finale, Allegro, has a good main theme but suffers from scale. Op.5 No.1 in D Major is the biggest of being overly long. Again, substantial cuts would greatly improve the three. The size and scope of the opening it. . Adagio introduction to the first movement is truly extraordinary. Highly dramatic, it creates a sense of unease which is only dis- Adolphe Blanc (1828-1885) was a French com- pelled by the appearance of the brighter and energetic Allegro. poser and violinist. He wrote three string trios, The Allegretto grazioso which follows begins in a rather banal Opp. 25, 41 and 48 . None have been recorded. fashion, however, it is subsequently developed into an exciting Nor until recently when Edition Silvertrust made and lyrical piece of music with very telling use of pizzicato and them available had they been reprinted since the lengthy double stops to create a bagpipe effect. There is no slow 19th century. All three are full of appealing mel- movement, and for the third movement, we are given a first rate odies and well-written and should appeal to am- Scherzo allegro with a finely contrasting lyrical trio. The exciting ateurs. Of the three String Trio No.2 in A Ma- finale, Allegro assai, with which Boëly tops off this trio, quotes a jor, Op.41, which dates from 1860, is perhaps the best. It opens theme from Beethoven's Op.9 No.2, but he gives it an entirely with a charming Allegro moderato. The Allegro vivace scherzo different treatment. makes a stronger impression with its unusual rhythm and lyrical trio section. Better yet is the slow movement, Adagio religioso, The opening bars to Op.5 No.2 in C Major, quote Beethoven's with its noble themes and somber atmosphere. The best of all is Op.18 No.2 Quartet, however, by the fourth bar, Boëly departs the finale, Rondeau espagnol. It may well be that Bizet borrowed onto his own melodic path. The lovely second theme is lyrical the themes from this movement for his opera Carmen, written while driven forward by the pulsing accompaniment in the cello. some 15 years later.The rhythms and even the creation of a guitar The slow movement, Adagio, which follows, is leisurely but has sound through the clever use of pizzicato are superbly done. This an air of mystery to it. The theme of the third movement, Minu- work could also be performed in concert. etto, Allegretto, depends more on rhythm than its melodic line

-7- and is presented in canonic form. The opening bars of the finale, a a haunting viola solo. The movement closes much as it began. The Presto, bring the finale movement of Beethoven's Op.18 No.3 third movement, Animé, presents a broad panorama of traveling Quartet to mind, but again Boëly gives the material a different music. The lower strings strum, guitar-like, as each voice takes treatment. turns bringing out a bright melody. Then the tempo begins to increase until it reaches a wild whirling feverish pitch before the Op.5 No.3 g minor is in some ways the most interesting and also main theme is reprised. In the finale, Tres anime , begins with a the least interesting and weakest of the set. Like Beethoven Op.9 Bach-like etude which as it goes along morphs into a Gaelic dance No.3 it is the only one set in the minor but the thematic material is which must have come from his native Brittany. A lyrical second perhaps the least interesting. On the other hand, it sounds the least theme is sung over the soft ponticello voices in the background. like Beethoven and has the most challenging cello part of the This is an unquestionable masterpiece.and belongs in the concert three. hall. Amateurs of an advanced technical level will also revel in its beauty and originality. . Hans Melchior Brugk (1909-1999) was a Ger- man composer and teacher. He primarily com- Carl Ditters von Dittersdorf (1739-1799) Aus- posed choral works. His String Trio in D Ma- trian composer and violin virtuoso. His Diverti- jor, Op.11 was published by Simrock in 1963. It mento in D Major, Krebs 131 is a short three is in three movements, Allegro vivace, Adagio (a movement (Andante, Menuetto & Presto) work, theme and set of variations) and Vivace. It is which judging from how its sounds was com- tonal but mostly not in the traditional sense with posed in the 1770’s. It has the typical sound of many long episodes of dissonance. But these are always resolved. Mozart and Haydn from that period, i.e. the Rhythm plays a greater role than the thematic material. The Viva- early Vienna Classical era sound. All three instruments are well ce is particularly appealing. It presents no unusual technical diffi- treated. Not technically hard. culties and can be handles by amateurs of average ability Ernst von Dohnanyi (1877-1960 , also Ernö Ole Bull (1810-1880) was born in the Norwegian Dohnanyi in the Hungarian form). His Sere- city of Bergen. He became a famous violin virtu- nade in C Major, Op.10 is one of the great oso and composer. As a boy he studied violin works for string trio. It was composed in with his mother and local teachers, but was large- 1904. Dohnanyi intentionally chose Beetho- ly self-taught, although some scholars believe he ven’s Op.8 Serenade as his model as it was may have some violin lessons from Heinrich his goal to produce an updated version of the Ernst, another violin virtuoso. Bull is thought to classical serenade for string trio. Beethoven have composed at least 70 works, most of which begins his Op.8 Serenade quite ceremonious- are now lost. The most famous of those which have survived is ly, as was the custom, with a relatively short Sæterjentens Søndag (generally translated in English as the march. So does Dohnanyi. Beethoven’s movement marking is Dairymaid’s or Shepherdess’ Sunday and surprisingly in French Marcia. Allegro. So is Dohnanyi’s. Traditionally, of course, a as Solitude on the Mountain and in German as the Longing of the march has a contrasting trio section which serves as the middle Dairymaid). The work, which became tremendously popular, was portion of the movement after which the march reappears and is originally for violin and piano but was quickly made into a song used to conclude the movement either with or without a coda. and then given many different arrangements. One of the best was Beethoven follows this procedure. Dohnanyi does not. Instead, he by the Norwegian composer Johan Svendsen (1840-1911). compresses the 21 measure march into five bars by means of rep- resenting the original 16th note runs that lead to the main dotted Henry Cowell (1897-1965) was an American com- rhythm of the march into a run of only three notes while retaining poser and teacher. Edition Peters published his Sev- the dotted rhythm. This compression creates a heightened tension en Paragraphs for String Trio in 1966 which was which is missing in the original march. Rhythmically, Dohnanyi’s composed in 1925. Seven short movements each Marcia, unlike Beethoven’s, is not a straight forward affair. In- different. Basically not tonal. stead, it is complicated and requires precise and intricate ensem- ble playing with each voice having to enter at rather unexpected times. There is not much tonality to this march, its is not to say Jean Cras (1879-1932) was a French composer that it is atonal, merely that the melody is slight. However, the and admiral. His String Trio dates from 1925. theme of the middle section, entrusted entirely to the viola and The opening movement which is without any cello, is quite powerful. Post-Brahmsian in tonality, it is a wailing tempo marking other than a metronome indica- lament. At this point, it is impossible to know that Dohnanyi will tion begins with a searching melody. After a re- return to use it as a coda in the final movement. In the second prise, one hears a series of jazz rhythms as the movement, Romanza, to the off-beat pizzicati in the violin and development proceeds. The second subject, is cello, the viola, in a long solo, a kind of folk melody. Contrast is gentler. The extraordinary second movement-- provided in the brief, somewhat quicker middle section, Beetho- there is nothing like it in the trio literature, Lent , ven follows his Adagio with a Menuetto, allegretto before insert- is a serious of unrelated episodes. The first is religious, the strings ing a scherzo. Dohnanyi, not feeling himself slavishly beholden to create a soft, meditative organ-like sound that one might well hear Beethoven’s model, skips the minuet and uses a Scherzo, vivace in church. Next comes a peasant dance, perhaps a musette with for his third movement. The playful main theme is introduced in a just a touch of the exotic. Then, the violin is given a long wailing fugal fashion. The theme bears some similarity to that used by solo in the exotic sounds of the Levant. This is in turn followed by Dukas in the middle of his Sorcerer’s Apprentice. The fourth

-8- movement Andante con moto, us a theme with a set of five varia- Georges Enescu (1881-1955) was a Romani- tions. This is the most serious movement of his Serenade. The an composer, violin virtuoso, conductor and theme, which all three instruments present together, is reflective teacher. He wrote a short, one movement and elegiac in nature and full of harmonic surprises. These carry work entitled Aubade . It dates from 1899 but over into the variations which are one of the most extraordinary has been republished by Editura muzicala. sets ever composed, and characterized by a very high degree of Based on a Romanian folk tune. It sounds craftsmanship. The main theme of the finale. Rondo, is only a like a song sung to guitar accompaniment. short kernel of four measures. It is frenetic and full of nervous Charming morsel. energy. Although it begins as an entirely independent theme, as the movement progresses, it starts to bear a distant relationship to Joseph Eybler (1765-1846) was an Austrian the thematic material in the opening movement. But then, without composer, a student and good friend of any warning, the coda, marked L’istesso Tempo, offers up the Mozart. Published in 1798 as ‘Grand Trio,’ the lyrical theme of the march from the first movement in the violin, String Trio Op.2 in C Major in five echoed by the cello, against the inexorable drumming rhythmic movements is no slight work. It clearly takes figure in the viola (see right). The effect is quite dramatic not Mozart’s own great string trio, Divertimento only because of the sudden interjection of a lyrical theme but also K.563 as its model. After an introductory because the tempo slows down despite the marking since Adagio comes a rollicking Allegro written in Dohnanyi shifts to notes of longer value. Hence Dohnanyi not concertante style, much like K.563. Each only brings the work to a powerful close but also, by reintroduc- voice is given a rather substantial chance to shine and the writing ing the theme from the first movement, does it in a way which is more grateful for the two lower voices who are not asked to try approaches that of the traditional classical serenade. Although and duplicate what the violin has just played before them. A well- there are some technical difficulties, they are not insuperable and crafted Andante, not in concertante style, follows. Next comes a every string trio party should make this work’s acquaintance. typical Austrian ländler, which serves as the main theme to the Menuetto allegro which features three charming and contrasting Johann Justus Friedrich Dotzauer (1783-1860) trios. This is a very fine movement in the noble tradition of the was a German cello virtuoso and composer. He 18th Century serenade. A short Adagio , in which the violin is wrote a huge amount of chamber music, much of tacet , comes next. This somber interlude in the lower two voices it quite appealing, however, virtually none of it is an ingenious ‘palette cleanser’ which provides just enough has been republished since the 19th century. His contrast from the preceding minuet so that the taste of the Grand Trio in E flat Major, Op.57 is a concer- melodically delicious finale, Rondo , is not lost. It is a bouncing, tante style work which makes technical demands joyful affair which brings this satisfying work to a close. This trio on all of the parts, especially the cello. deserves performance in the concerthall where it will undoubtably bring pleasure to its audience and it should certainly Johannes Driessler (1921-1998) was a German not be missed by any amateur trio party. composer and organist. His String Trio Op.1 No.2 was published by Barenreiter Verlag in Jean Françaix (1912-1997) was a French 1953. This four movement work (Molto Adagio, composer. His String Trio dates from 1933. It Alla marcia, Allegretto moderato and Allegro is one of the more important 20th century vivace) is mostly dissonant but not repellingly string trios. In four movements ,its style is so. There is tonal resolution and several tonal firmly neoclassical The opening Allegretto passages. Excellent part writing and not at all vivo is a lively yet intimate. All three voices difficult technically this can be considered a worthwhile work. are muted. The viola is entrusted with a theme which spells, in German notation, Bach in Julius Eichberg (1824-1893) was a German reverse. (the notes B, C, A, B-flat correspond- composer and violinist who emigrated to the ing to HCAB in German notation.) A lively scherzo follows. In U.S. and founded and directed the Boston Con- the songlike Andante, once again mutes are employed. The vio- servatory of Music. His 5 Skizzen, Op.23 lin plays soloist to the lower voices. The finale, Vive, is full of (Five Sketches) for String Trio were first pub- effervescent drive, but ends surprisingly softly, though, fading lished in 1857 The first movement, Allegro away. A work for the concert hall, it is by no means beyond expe- spirituoso, as the marking suggested is spirited rienced amateur players. and full of forward motion. A pastoral Andante quasi allegretto follows. The middle movement, Eichberg subti- Robert Fuchs (1847-1927) was an Austrian tles Waldnacht—forest night. It is darkly hued but not certainly composer. His String Trio in A Major , Op.94 not gloomy. This is followed by a sprightly movement titled is an important work and one of the best from Mährchen, an archaic spelling of the word Märchen, meaning the late Romantic period.It dates from 1910. fairy tales. The finale, Vivace is also given a title, Genuesischen This was, for the time, a fairly modern sounding Ständchen—a Genoese Serenade. Perhaps Eichberg should have work, completely tonal but certainly showing entitled this work Suite for String Trio, for that is what it is. It that Fuchs, who was then 63 was not immune makes a fine mid-romantic era choice for a concert program. It from the advances in tonality that composers presents no technical difficulty and should certainly appeal to such as Bruckner, Mahler and the post-Brahmsians had made. By amateurs. and large, this trio sounds no less modern than Dohnanyi’s. The fresh main theme of the first movement, Allegro moderato , is immediately attractive. The slow movement, Andante espressivo , -9- consists of very melodious variations on a Scottish folk-song O generally, but not always employs a fast-slow-fast pattern to each cruel was my father , perfect in design and simple in character. A movement, using then popular dances such as the Tedesca and richly chromatic Minuetto serves as the third movement. A the Scozzese (the German and the Scottish dance prototypes) bright, energetic trio is placed in the middle. It has a bit of the Each of the trios is in three movements and can be recommended. early 20th Century freneticism one later hears in neo-classical . music and surely the roots of those who stuck with tonality can be seen here. The last movement contains a slow introduction, an Benjamin Godard (1845-1897) French Allegretto piacevole with a fugato opening and a really thrilling composer and violinist. In 1872, he Allegro vivace. composed Morceaux, Op.5 for string trio. These consist of four pieces programmatic Hans Gal (1890-1987) was an Austrian composer pieces. These finely put together charming who fled the Nazis and emigrated to Scotland. His movements are beautiful and in no way diffi- Trio, Op.104 was published by Simrock in 1974. cult to perform. They are so lovely chamber It was originally scored for Viola d’amore, how- music players will certainly want to play ever, the unlikelihood of it being performed with them. The first movement is entitled Ballad instrument led to a viola part being made. It is in and is a Vivace. Next is an Allegretto enti- three movements and tonal to the extent that there tled Dans le Bois. This is followed by a slow movement, Reve, are identifiable themes and resolution to what are Andante quasi adagio. The finale, an Allegro is simply entitled, dissonances. Well-written, the third movement, a big theme and Scherzo. variations is especially well-done. A good modern work. There is no recording. Carl C.P. Grädener (1812-1883) German com- poser. His String Trio in G Major, Op.48 is Moritz Ganz (1806-1868) was a German cel- currently in print although there are plans by Edi- list and composer. His Grand Trio in D Ma- tion Silvertrust to make it available. Composed in jor, Op.8 was composed in the 1830’s. Alt- 1864, it must be considered a cut above the aver- hough it is not a candidate for the concert hall, age which is well-written for the instruments and it is suitable for amateur performance and recit- uses the ensemble to good advantage. Mendels- als. It is written in an early Romantic idiom. All sohn, to some extent serves as an inspiration. three instruments are well handled and given There is an intense Lento introduction leading to a compelling many opportunities to present the thematic ma- Allegro molto moderato. Of note is the fine accompaniment to terial. the main theme of the second movement, Un poco vivace, a min- uet. A lovely Adagio, perhaps reminiscent of a Mendelssohnian Joseph Gehot (1756-1820) Belgian violinist and composer. He Song Without Words, serves as the slow movement. The finale, wrote a considerable amount of chamber music. Among his string Allegro vivace, ma non troppo, combines a light-hearted theme trios are his Op.1 Nos.1-6 from 1781 and his Op,5 Nos.1-6 from with more lyrical elements. The coda is an exciting stretto in sometime during the same decade. The style varies from concer- which the theme from the first movement reappears. This trio is tante to the more modern structure used by Haydn and Mozart. strong enough to be programmed in concert but also well within The music sounds quite a lot like Boccherini with occasional ech- the range of the average amateur player. oes of the early Vienna Classical School. Straight forward and fun to play for home music making. Joseph Haas (1879-1960) had his Divertimento for String Trio in D Major, Op.22 published in Felice Giardini (1716-1796) was an Italian 1909. It was reprinted once more a few decades composer and violin virtuoso. He wrote 18 later and recently by Edition Silvertrust. Like string trios for violin, viola and cello, in three Beethoven’s Op.8 Serenade for String Trio, Haas’ sets of six, Opp. 17, 20 and 26. Of these, the Divertimento is in the best tradition of such only set to remain in print is the Op.20 Nos.1-6 works. It is intended to be entertaining and amus- were recently reprinted individually by Edition ing and certainly succeeds in this. Each of the five Silvertrust. In mid 20th century, Editioni Zani- tightly written movements is fresh and inventive. But one must bon reprinted these as a set and also included note that this is not merely “light music”, for it shows the com- Op.17 No.2 which they mislabeled. At the time of writing, (2010) poser’s complete grasp of chamber music style, understanding of there were plans by a Hungarian firm to issue new editions to all tonal beauty and how to combine the three instruments to their of these. The trios combines the so-called “Style Gallant” with best use. In the first movement, In gemässigtem Marschtempo the mid 18th classicism of J.C. Bach, the Stamitzes and the mit Humor (in a moderate march tempo with humor), the use of Mannheim school. In the “Style Gallant”, the writing emphasizes humor is cleverly executed and never obvious or overdone. The the soloistic qualities of the instruments, rather than the integrat- inspired main theme is appealing and far above the ordinary. The ed writing of all three parts to create a whole, which J.C. Bach second movement, Capriccio, is marked very lively and light, and and the Mannheim composers pioneered. One can hear the roots is in fact fiery and piquant, while the beautiful, brief middle sec- of early Mozart and Haydn. In these trios, the roles and im- tion provides a striking interlude. Next is an attractive Minuet, portance of each instrument is constantly varied. While the viola Graziõs, nich zu rasch (graceful and not too quick) in the rococo is often the glue between the violin and the cello, at times, it be- style. The slower trio section is also quite appealing and lovely. comes the soloist. The cello covers the entire range of its regis- This in turn is followed by a Romance, Sehr ruhig und mit viel ters, hopping from deep in its bass to high in its tenor. Giardini Ausdruck (very calm and with much expression). The finale, Sehr

-10- lebhaft and Humorvoll (very lively and humorous), is a rondo. As and offer no technical difficulties. They have been reprinted a the title suggests it is full of unaffected humor and fine touches. number of times, with International Music Company being one This trio would make a fine program selection for the concert hall choice. They were recorded on Phillips LP SAL 378 by Arthur and is truly a ‘tasty morsel’ for amateurs. Grumiux Trio and also on Westminster LP 9033. I am aware of no CD recording. Peter Hänsel (1770-1831) German com- poser and violinist active in Vienna, St. Swan Hennessey (1866-1929) Irish com- Petersburg and Paris. He was a student of poser. His Petite Trio Celtique Op.52 Haydn and assimilated the master’s late dates from 1921. As the title suggests the style in which he more or less composed work is relatively short consisting of four throughout his life, though adding some of movements. The first, Allegro, bears the the modifications of early romanticism. subtitle in Irish style and indeed sounds like He wrote a great deal of chamber music, an Irish dance. The second movement, virtually all of it out of print. His last three Moderat, is subtitled in the style of Brittany works, number by Hänsel himself as while the last two movements, Andante and Op.40 Nos.1-3, are for string trio. They Allegro are in Irish style. Easy to play, pro- date from 1830 and remained in manuscript until Edition Gravis gram music of no great depth. There is no modern reprint or re- brought out the first two. Op.40 No.1 in F Major was published cording. by them in 1989. It is a substantial work in four movements. It opens with a tuneful Allegro, but which could improve by some Eduard Herrmann (1850-1937) was a German violinist and judicious cuts. Next is a charming Andante con moto which is a composer. His String Trio in g minor, Op.39 It is in a post- set of variations. This is followed by a classical style Minuetto, romantic style. The opening Allegro moderato begins with the allegro with trio. Here the material is mostly given to the violin. viola introducing a somewhat dark, yearning melody over the The finale, Presto, though it has appealing melodies is also overly cello cross string accompaniment which gives the music consid- long. In 1993, Edition Gravis brought out Op.40 No.2 in g mi- erable spaciousness. The middle movement, an Adagio, is in the nor . On the whole, it is the stronger of the two works. The open- form of a lovely romanza. The finale, Allegretto, begins with an ing Allegro con fuoco is quite exciting, however, the bulk of the introduction of bright arpeggios before the viola enters with the melodic material is to be found in the violin part, at least more main theme quickly taken up by the violin. dates from 1920. than one might expect from this period. Again, the movement would benefit from cuts but the thematic material is more com- Heinrich von Herzogenberg (1843-1900) pelling and does not make this such a glaring problem. The sec- wrote two first rate string trios worthy of ond movement, Menuetto, allegro. In the trio section, the viola is concert performance. Both were composed given the chance to lead throughout. The third movement, An- at the same time in 1877. The first, String dante, is again a theme and set of variations. The cello presents Trio No.1 in A Major, Op.27 No.1 The appealing melody by itself, rising into its treble register.. The opening subject to the first movement of variations which follow are quite well done. The finale, Vivace, String Trio No.1, Op.27 No.1 in A Major, although effective, is overly long with too much of the material Allegro, is bright, graceful and syncopated. going to the violin. Still, this is a good work which can be recom- The second theme, is equally cheerful, but mended to amateurs. somewhat broader and is sounds especially well in the viola and cello. The Andante which follows begins Charles Haubiel (1892-1978) was an Ameri- with a beautiful folk melody, slow and lyrical, while the middle can composer and teacher. His String Trio in d section is quicker and somewhat turbulent. Next comes an Alle- minor was published in 1958 by Elkin. The gretto, which for its main theme has a kind of “Shepherd’s La- fact that it is in a key signature is somewhat ment” which quickly morphs into a rustic peasant’s dance. The misleading. An Adagio introduction is tonal mood of the finale, Allegro, is similar to that of the 1st move- and presents a promise of things to come. The ment, mostly bright and graceful. Toward the end, the writing main movement, Allegro con trio, is angular, becomes almost orchestral which is quite an accomplishment for and mostly dissonant, at times quite harshly so. just three voices. The second, String Trio No.2 in F Major, An Allegro con spirito which follows is a scher- Op.27 No.2 begins with the cello, all by itself, quietly introduc- zo, also angular, more tonal but not particularly melodic. The ing the first theme pizzicato. The bowed version is presented finale is an Allegro, where sandwiched between long slices of thereafter by the viola. When the violin enters, it becomes clear dissonance is an appealing tonal episode. It is well-written and that this is a fugue, after which the theme receives canonic treat- not overly hard. ment. The second theme is dark, more chromatic and so intricate- ly woven into the fabric of the first that it is hard to hear where Franz Joseph Haydn (1732-1809) of course is after Mozart, the one begins and the other ends. The Andantino, which follows, has most famous composer from the Vienna Classical era. He wrote a the same format as the slow movement of 1st Trio. A lied pre- lot of trios, mostly for baryton, viola and cello as his employer, sented entirely by the violin and again it is followed by a piu Prince Esterhazy, was a baryton player. The only trios that he mosso section, the theme to which has the quality of a barcarole. wrote for violin, viola and cello that have remained in print are These rolling 16th notes eventually become accompaniment to a his Op.53 String Trios , these are a set of three. These are charm- cello melody. A Tempo di Minuetto comes next. It begins with an ing, but slight, two movement works. The violin dominates, but old-fashioned and somewhat dry melody of the sort to which 18th they are not written in concertante style. The are pleasant to play century French aristocrats might dance. The second strain, par-

-11- tially in minor, is more robust. The trio section, rather than being slower, is marked Piu vivo. Its lovely melody is sung by the vio- Julius Hopfe (1817-1891) was born near the German town of lin and then later appears in cello as part of the coda. It is accom- Heldrungen. His father, a preacher, intended him to have a career panied by the striking use of bariolage in the other voices. The in the ministry of Julius was able to pursue musical studies first at very fine finale, Allegro vivace, begins with a truncated fugal his Gymnasium, then at University of Berlin and the Berlin version of the energetic first theme. The second is more lyrical Akademie der Kunst, obtaining a degree of doctor of philosophy. and quite exotic and oriental-sounding. He became a prominent and influential piano pedigogue and also a conductor, all the while composing. He composed in most gen- Willy Hess (1906-1997) was a Swiss com- res and was, during his lifetime, greatly appreciated for his cham- poser and important Beethoven scholar. His ber music. Among his chamber music works are 7 string trios, String Trio in G Major, Op.76 was pub- only two of which were ever published, three piano trios, two lished by Amadeus Verlag. This is a wonder- piano quartets, 2 nonets, 2 octets, 4 string quintets, 4 septets and ful work written in neo-romantic style. It several string quartets.German composer, conductor and teacher. opens with a slow, somber, introduction that Hofpfe's String Trio No.1 in C Major, Op.41 appeared in 1856 has a jazz feel to it, and leads to a playful, and was dedicated to four military officers who formed the Berlin upbeat and bright Allegro giocoso. The sec- Officers Music Society. It is in four movements—–Allegro, An- ond movement is a theme and set of six variations, each very dantino grazioso quasi allegretto, Scherzo, allegro vivace and different from the other. The sixth is a very clever fugue. The Allegro fughetta. It is well written with all of the parts being third movement, Deutscher Tanz, is a very well done modern treated more or less equally. The tuneful melodies and lack of version of an alla tedesco minuet. The finale, Rondo, begins with any technical challenges make this unprepossing trio an excellent a Grave introduction which repeats the theme from the opening concert or competition choice for young players. String Trio movement before changing into an Allegro grazioso which has No.2 in g minor, Op.69 is not only is it well written, but it is a much the same mood as the opening Allegro giocoso. Here is an fine-sounding work which presents no technical difficulties. It is excellent work, strong enough for concert performance but within a workman like trio good to play though no great masterpiece of the ability of even players of modest technical accomplishments. the repertoire. The first movement, Allegro, has appealing lyrical themes. The Scherzo, molto vivace which follows is good enough Kurt Hessenberg (1908-1994) German but it is the trio which makes a greater impression. The third composer and teacher. His String Trio, movement, Andantino, quasi larghetto is in the style of a song Op.48 was published by Edition Schott in without words. The main theme is in the style of a Legend while 1954 and has remained in print. It was rec- the middle section has a lovely canon duet between the viola and orded on a Deutsche Grammaphon LP violin. The lively, jovial finale, Allegro ma non troppo, is full 18403. This is a work with no fixed tonality spirited. It can be played by those with only a modest technique and yet in a very modern way tonal. It has and is well-written for the three instruments. many dissonances but it is not really a very dissonant work and the superb use of Johann Nepomuk Hummel (1778-1837) was rhythm creates an even greater impression Mozart’s only fulltime student and generally of tonality. It is a good work to play, presenting no technical acknowledged to be the greatest pianist before problems for experienced amateurs and it is without doubt a work Liszt. He was a fine composer whose works which should be heard in concert. The opening movement Vivace suffered in comparison to his contemporary sounds like something Mozart might have written if he were liv- Beethoven only because he did not blaze a ing in 1950. There is much movement and running passage work new trail or attempt to scale the immortal which is always engaging. This is followed by a Larghetto and a heights. Among his works at death were found Presto which serves as kind of scherzo. It has a strong pulse and two trios apparently for 2 violas and cello. one can hear the influence of Shostakovich. Then comes a Lento They remained unpublished until 1958 when a version for violin, which is very free in tempo. The rhythm of the opening theme to viola and cello was printed. They appear to be from the first dec- the finale, Vivace, is as important as the thematic material. Very ade of the 19th century and are really fine works not to be missed effectively done. by any trio group. They present no technical difficulties, are strong enough for concert performance and treat the instruments Ferdinand Hiller (1811-1885) was a German as equals. The String Trio in E flat Major begins with a formal composer who was also a leading German pia- short introduction, a call to attention, to the opening Allegro con nist for a number of years, as well as an im- brio. The main theme is classical and its treatment is reminiscent portant teacher numbering Max Bruch among of Mozart. In the lovely second movement, Adagio cantabile, the his many students. Hiller studied with the fore- music clearly straddles the two periods. The development with most pianist of the time, Johan Nepomuk Hum- the two high voices over the cello pizzicato is particularly strik- mel, who was also a composer of the first rank. ing. The third movement is a Haydnesque Menuetto, while the Hiller’s String Trio in C Major, Op.207 was lively finale, Allegro, is a classical era rondo. The opening Alle- not published until after Hiller’s death. It has gro moderato to the second work, String Trio in G Major , after not been reprinted in the past century and probably for good rea- an introductory "trumpet call" to order, has for its main theme a son as the thematic material is very dry and quite pedestrian. The light Mozartean melody which is given a bright and elegant treat- work sounds like a homework assignment rather than a work of ment. The second movement, Andante, begins in an almost reli- art. gious vein, but slowly the mood lightens and the second theme is given a playful treatment. A very typically classical Menuetto

-12- follows with a wonderful trio which provides a striking contrast. Bartokian styles. The Op.12 String Trio dates from around The finale, Rondo alla burlesca vivace, is full of good humor and 1929. In three movements, it opens with a searching, somewhat plays a few musical jokes (on a tune from Mozart's opera The strident Allegro. The middle movement, Andante, is muted and Magic Flute). has a sad somewhat elegiac quality. The finale, Presto, is an ener- getic, nervous fugue. This is an interesting and engaging modern Hyacinthe Jadin (1776-1800) French com- work. It deserves to be heard in the concert hall, and experienced poser and pianist. His Op.2 are a set of and diligent amateurs will also enjoy its originality. three trios. They were dedicated to the fa- mous violinist Rudolphe Kreutzer, but the Johann Friedrich Kelz (1786-1862) was a German cellist and trios are not written in concertante from and composer. His String Trio in E flat Major, Op.128 was pub- are not a mere vehicle for the violinist, but lished in 1830 but almost certainly was composed earlier. It rather show a good use of all three instru- opens with an Allegro in rather stately fashion and then becomes ments. They were composed sometime in livelier as it proceeds, sounding like a classical divertimento. The the mid 1790’s, before Beethoven wrote his main theme of the second movement, Lento, begins with a long, trios. There is some confusion over the opus numbers with regard singing melody in the cello. Next comes a sprightly Menuetto to these trios and a set of three string quartets which also bear the with two trios. The minuet is Hadynesque in that snippets of the opus number of 2. Unfortunately, this was not at all an uncom- theme are shared by all of the voices which are necessary to com- mon experience during this period when different publishers plete it. In the first trio, the violin and cello engage in a duet, brought out a composer's works. Op.2 No.1 in E flat Major was while the viola is given the pretty, landler-like second trio. The reprinted by Edition Silvertrust in 2008. The opening movement, fourth movement is a dignified Adagio, a somber processional. A Allegro moderato , opens calmly. Its main theme is finely nu- second Menuetto, also with two trios, precedes the finale. The anced. It seems clear that Jadin had come into contact with minuet section is dominated by triplets. In the first trio, which is Haydn and Mozart as the music and the handling of the material rather similar to the minuet, the viola takes the lead although the is closer to the early Viennese classics than to what was being cello occasionally intercedes. The second trio is a traditional Ger- composed all around him in Paris. The second movement is a man Dance. The finale, Allegretto, is a jaunty, upbeat affair with Haydnesque Minuet. The heavily accented-rhythmic main section catchy, appealing melodies. is set off by a more plastic trio. An old fashioned Sicilienne serves as slow movement, however, it sounds rather more like a Jan Baptysta Kleczynski (1756-1828) was born in the Austro- stately minuet rather than an Italian dance. The finale, Allegro , Bohemian town of Freistadt (now known as Karviná and in the opens with considerable forward propulsion and continues at its Czech Republic) He was trained as a violinist and composer but quick pace without pausing for breath until it finally reaches a with whom and where is not known, although some scholars be- lovely, lyrical middle section. lieve it was in the Austrian part of what had been Poland, possi- bly in Lvov (Lviv) or Krakow. He worked as a court musician at Joseph Jongen (1873-1953) Belgian various Hungarian courts before coming to Vienna in 1795 where composer. His String Trio Op.135 dates he remained for the rest of his life. He served as a violinist in the from 1948. The work is entirely tonal, Imperial Court Orchestra and the prestigious Imperial Theater primarily showing the influence of the Orchestra, eventually becoming its director. As one of Vienna's French impressionists but also with cer- more prominent musicians and conductors, he would have known tain elements of neo-classicism and the and been known to Haydn, Beethoven, Krommer, the Wranitzky neo-baroque. The first movement, Alle- brothers, and all of the other leading musicians then in Vienna. gro ma non troppo starts off like a mod- String Trio No.1 in C Major, Op.4 No.1 is the first of a set ern version of Bach but quickly falls into three published simultaneously in 1797 by Offenbach in Germa- an impressionist mode. The following ny and Leopold Kozeluch's Musikalische Magazin in Vienna. Molto espressivo is slow and sad. The Written in the Viennese classical style of the period, what sets third movement, Malinconico, has a melancholy main theme set these trios apart from other contemporary works, with the excep- off by odd rhythmic episodes. In the finale Décidé, once again tion of Mozart's, is the part-writing. The lower voices are very rhythm more than melody creates the main interest. This is a generously treated. The style is a blend of the older concertante good modern work which should not be beyond amateur players, fused to the new integrated approach pioneered by Mozart and but there is not enough contrast between the movements which Haydn. The first movement, Allegro moderato, begins by exud- creates a certain monotony. The music is not in print but it was ing a gentle elegance, more characteristic of a classical minuet recoded on Dexia CD ADW 7502. than an allegro. However, as the music proceeds the pace quick- ens and becomes more lively. The second movement, Andante Pal Kadosa (1903-1983) was born in the town moderato, is modeled on the approach that singers of the time of Lévá, then part of the Austro-Hungarian Em- took, often breaking the rhythm and adding ad lib embellish- pire and now Levice in Slovakia. He studied ments. The finale, Rondo, allegro, has three sections. Once things piano and composition with Zoltan Kodaly at get going, the viola introduces a characteristic Polish dance the Budapest Academy of Music and subse- rhythm, giving the music a faintly Polish flavor. String Trio quently pursued a career as a composer and No.2 in G Major, Op.4 No.2 is the second of a set three pub- teacher, eventually becoming a professor at the lished simultaneously in 1797 by Offenbach in Germany and Academy. Among his many students were Györ- Leopold Kozeluch's Musikalische Magazin in Vienna. Written in gy Kurtág, Andras Schiff and György Ligeti. Kadosa's composi- the Viennese classical style of the period, what sets these trios tions from his first period are a combination of Bartok and post apart from other contemporary works, with the exception of Mo-

-13- zart's, is the part-writing. The lower voices are very generously six movement work for string trio, K.563, to mind, which no treated. The style is a blend of the older concertante fused to the doubt accounts for it having at one time been called Divertimen- new integrated approach pioneered by Mozart and Haydn. All of to. However, structure aside, the music is closer in spirit to Bee- Kleczynski’s trios begin with a rousing riviting introductions, thoven where through the use of intense chromaticism Krommer much like Rossini overtures. The Second Trio is no exception and is able to achieve a remarkable degree of suspense from just three perhaps is the most sensational of all, quoting as it does, the instruments. The big, opening movement, Allegro moderato, is opening bars to Mozart’s Violin Concerto No.3, K.216 in the characterized by its flowing main theme which is juxtaposed same key. This was almost certainly no coincidence as Klezcyn- against hurried scale passages. The effect is quite striking. The ski was working and active Vienna when Mozart was also there. first Menuetto, an allegretto, is not really a minuet but a closer to Most scholars believe the introduction to be a kind of tribute to a scherzo, full of excitement and forward motion. The charming Mozart. The second movement, Poco andante con variazione, is a trio section provides a fine contrast. A lovely Adagio follows. theme and set of three variations with each voice having a chance Next follows the second Menuetto, also an allegretto. Dark and to lead. The lively finale, Rondo, allegro, is bright and upbeat, thrusting, it, too, exhibits qualities which are more like a scherzo. evoking the mood of a scherzo. String Trio No.3 in C Major, The penultimate movement, an Andante, anticipates Mendels- Op.4 No.3 is the last of a set. Written in the Viennese classical sohn in that it is an intermezzo, charming and full of grace. But, style of the period, what sets these trios apart from other contem- in the middle, we have a several dramatic interludes which break porary works, with the exception of Mozart's, is the part-writing. the calm. The Allegro, which serves as the finale, has a lilting and The lower voices are very generously treated. The style is a blend appealing folk melody for its main theme. But Krommer quickly of the older concertante fused to the new integrated approach builds the requisite excitement into the music to make a satisfy- pioneered by Mozart and Haydn. The first movement, Allegro ing ending. maestoso, as in the first trio begins in a genial, elegant way. Then the through quick rhythmic passages things pick up.The beautiful Carl Matthias Kudelski (1805-1877) Prussian violinist, conduc- second movement, Menuetto grazioso, is particularly striking tor and composer. His String Trio in G Major, Op.32 dates with its long cello solo in the trio section. The finale, Rondo, alle- from the 1840’s. It is dramatic and exciting and very well written gro, is bright and sunny. for all three instruments. The trio begins with a slow ominous Andante introduction in the minor, but the main part of the move- Zoltan Kodaly (1882-1967) , the famous ment, Allegro con brio, is full of verve and forward motion. The 20th century Hungarian composer, wrote a second movement, Allegretto con moto, is a clever and fresh in- very attractive one movement piece entitled termezzo. A slow movement, Andante, comes next beginning in a Intermezzo for String Trio dates from dramatic fashion but transforming itself into a valedictory, com- around 1905, about the time he began his plete with a dramatic middle section. The riveting finale, Allegro travels to collect folk melody. It abounds ma non troppo is exciting from start to finish. with the sounds of real Hungarian folk tunes rather than the ersatz Gypsy music which Peter Lindpainter (1791-1856) German Austrian and German composers such as composer whom Mendelssohn called the Brahms popularized. The one movement Intermezzo is in the best conductor in Germany composed three character of a relaxed serenade. string trios, his Op.52 Nos.1-3 which were published around 1830. The writing is une- Oswald Körte (1852-1924) was a German com- ven in that the thematic material is varies poser and musicologist. His Wanderstimmung- from very effective to rather ordinary and at en for string trio was published in 1904. It makes times a bit.weak. The passage work is often no great pretensions and was probably intended difficult. Having said this, they are still worthwhile representa- for music making at home. It consists of five tives of the late classical Viennese era but require fairly accom- pieces. The first is entitled "Frisch plished players from a technical standpoint. Hinaus" (Happy to set out), the second is "Wechselnd Leid und Lust" (Sorrow and Joy), the third is enti- Henri Marteau (1874-1934) was a French tled"Idylle, the fourth, which is particularly beautiful, he titled violin virtuoso and composer. His String Rauher Weg and Sehnsucht" (The rough path & longing for Trio in f minor, Op.12 dates from 1907 and home). The finale "Glücklicher Heimweg" (Homeward bound shows the influence of Max Reger. The trio and happy) in which the viola is given a long and important ca- begins in a highly dramatic vein, almost denza. This is a work that is fun to play and can be recommended bursting the boundaries of chamber music. to amateurs. However, the second theme is by turns calm- er and playful. The second movement is enti- Franz Krommer (1759-1831) was a promi- tled Improvisation and is a kind of 20th cen- nent Austrian composer and violinist. His tury mix of Bach and Handel, serious and deep. The music con- Grand Trio in F Major, Op.96 dates from jures an image of one the great men improvising at the klavier. 1818 and truly deserves the title "Grand" as it Marteau calls the third movement Intermezzo, but this is no inter- is written on a large scale and is a lengthy mezzo in the tradition of Mendelssohn. Instead, we have a lopsid- work. It has traveled under several names ed, slinky dance which lumbers along humorously. This is fol- such as Trio No.12 and Divertimento for lowed by very lovely interlude in which each voices brings forth String Trio. The fact that it is in six con- a verse on a highly romantic song without words. The trio con- trasting movements clearly brought Mozart’s cludes with a Theme and Variations. The theme is bright and

-14- cheerful, bring to mind birds chirping away happily. Six compel- second theme and the lengthy slow episode is quite inspired. ling variations follow, each quite different in mood and tempo. While this is a good work, his use of chromaticism requires expe- rienced players. , Bohuslav Martin ů (1890-1959) wrote two string trios. String Trio No.1 H136 dates from 1924 but Wolfgang Amadeus Mozart (1756-1791) Mozart’s Divertimen- was only published in 2005 by Barenreiter because to in E flat Major K.563 is quite possibly the most famous string the score was lost shortly after its premiere and not trio ever composed and considered by many people also as the recovered until then. It is has a great deal of rather finest ever written. It has served as the model for many other harsh dissonance although these are from time to works. It does not require discussion here except to say that every time relieved by very brief interludes of trio group, indeed, every chamber music fan, ought to play at recognizable melody. It is technically difficult and sometime. It has always been available in more than one edition certainly beyond all but the best amateurs. It has been recorded and there have been and are dozens of recordings. Much less bet- on Alpha CD 143. String Trio No.2 H.238 was composed in ter known are the Four Preludes and Fugues K.404a . These 1934 and is in two movements. The work is not as dissonant as were taken from six in which Mozart wrote the Preludes and tran- the First but one could hardly characterize as traditionally tonal or scribed the fugues from the Well Tempered Clavier of J.S.Bach. melodic. Again this is a technically difficult work beyond all but These are available from G. Schirmer and have received several the most technically proficient amateurs. recordings. More recently Franz Beyer edited a movement of a trio begun but not completed by Mozart Streichtriosatz (String Georges Migot (1891-1976) French composer. Trio Movement) in G Major, K. anhang 66 (K.562e). It dates His Trio a cordes dates from 1945 and was pub- from 1788 and was put aside to either complete the opera Cosi fan lished by Editions Musicales Transatlantiques. It tutti or the above-mentioned Divertimento. is in five movements, Prelude, Allant, Choral, Allant-allegre, Priere and Modere. It harks back Paul Müller-Zurich (1898-1993) Swiss com- to the Baroque as far as it is a kind of suite. Pol- poser and conductor. His String Trio dates from ytonality dominates and there is nothing here 1950 but was only published in 1984 by that could be called a traditional melodic subject, Amadeus Verlag. It is polytonal sometimes dis- nonetheless, it is an engaging work with many interesting mo- sonant but not harshly so. It is in four move- ments. It is rhythmically clear and within the reach of experienced ments: Molto tranquillo, Allegro ritmico, An- amateurs. dante tranquillo and Vivace. It is not technically difficult and can be played by experienced ama- Darius Milhaud (1892-1974) French composer. teurs with little difficulty. His Trio a cordes, Op.274 dates from 1947. It is a polytonal work combining elements of neo Ernst Naumann (1832-1910) German composer and classical and neo baroque writing. In five short musicologist. Naumann’s String Trio in D Major, Op.12 dates movements, the two movement which make the from 1883. This is an above average work which combines strongest impression is the Serenade with its piz- classical style and some of the influence of Beethoven with the zicato strumming. language of the mid roman tic movement. The spirited opening movement, Allegro, recalls the atmosphere of Beethoven’s Op.18 Ernest Moeran (1894-1950) was an English Quartets. This is followed by an energetic scherzo and more composer. The trio dates from 1931 and is in relaxed trio section. The third movement, Lento espresso, has four movements. The work is characterized by warm, romantic melodies for its thematic material while the its contrapuntal treatment. The opening Allegro finale, Allegro assai, always makes a fine impression by virtue of giovale is in 7/8 and tricky rhythmically. A short its fresh ideas and inventiveness, not to mention excellent part- emotional Adagio follows. A ferocious scherzo writing. in 3/8, Molto vivace comes next and the work concludes with an Andante grazioso which be- Vaclav Nelhybel (1919-1996) Czech composer gins gracefully enough but suddenly changes into an energetic and who emigrated to the United States in 1962. His thrusting presto. string trio 4 Miniatures for 3 Strings was pub- lished in 1967 by General Music Publishing. Alt- Leonardo Moja (1811-1888) was an Italian cellist and composer. hough a work full of dissonances, it frequently His Sonata in d minor for String Trio, Op.22 was published in gravitates toward tonal centers and is very cleverly in 1875 but was probably composed several decades before. he written with many pleasing effects. The four Sonata is in two parts, beginning with a lengthy Larghetto intro- movements are Scherzino, Allegro marcato, Ada- duction. The main part of the work is a tuneful Allegro moderato. gio and Vivace. By no means hard to play, this is a work which, The entire work has the aura of a genial Italian serenade with, unlike many others from the same period, will appeal to listeners hints of Paganini with his use of Italian vocal melodic writing. and players who are not put off my some dissonance.

Roderich von Mojsisovics (1877-1953) was an Franz Neruda (1843-1915) was a Czech cel- Austrian conductor and composer. His Serenade list and composer. His Musikalische for String Trio in A Major, Op.21 dates from Märchen, Op.31 dates from the 1870’s and 1908. It is in one movement. All of his themes was also composed for clarinet, viola and cel- are interesting, especially the calm and lyrical lo. It is quite likely that Neruda had Schu-

-15- mann’s Op.132 Märchenerzälungen for clarinet, viola and piano as if it is a string quartet rather than a trio performing. The second in mind when he wrote this work and though originally composed intermezzo is a genial and lovely. Allegretto and sounds more for clarinet, viola and cello, Neruda simultaneously wrote a vio- like one would expect such a movement to sound. It has an updat- lin part so that the standard string trio could perform it, hence ed Mendelssohnian quality. making the possibility of concert performance more likely, not to mention that a wider audience would be available to purchase the Richard von Perger (1854-1911) Austrian music. There are nine movements, some quite short, others of composer and conductor. His 1888 String medium length. Altogether, they make a substantial work, the Trio in d minor, Op.12 is a first class work. length of a large scale string trio. Of course, any of the move- Though the influence of Brahms, Perger’s ments would make a fine encore and a program could be put to- own originality was such that there is much gether by simply including a selection of three or four. The here that Brahms would never have thought movements are quite evocative, each which a different mood, but of.The passionate mood of the opening overall there is a wistful atmosphere to the music. movement, Allegro moderato, is established immediately by the main theme. The charm- Alexander Nikolsky (1874-1943) was born in the ing second subject is tonally rich. The second movement, Presto, village of Vladykino in Moscow province. When is a spirited scherzo with a finely contrasting, slower trio section. he entered the Moscow Conservatory, he studied A somber slow movement, Largo, follow. In the middle section composition with Sergei Taneyev and also con- the violin and cello engage in a fetching question and answer ducting. After graduating he worked at various duet. The lively finale, Allegro vivace, begins explosive fashion. schools as a teacher of choral music, music theo- A second theme is equally powerful and it is only the third, tran- ry, and counterpoint. His Two Pieces for String quillo, which reduces the tension. A highly effective coda tops Trio Op.42 were published in 1920 and although off the work. This work is strong enough for the concert hall but given the late opus number of 42, they clearly date from his time can be recommended to amateurs as well. at the Moscow Conservatory as evidenced by the fugue which most likely was set by his teacher, the greatest Russian writer of Felix Petyrek (1892-1951) Austrian Composer. fugues and hence we feel was composed between 1890 and 1895. His Variationen über Volkslieder (Variations This is further evidenced by the fact that the music is mostly sec- on Folksongs) was published in 1962 and has ular in nature and nothing to do with the Orthodox church ser- remained available. There are four folksongs vice. The simple but lovely theme, upon which the variations are entitled The song of the three rabbits, The dance based, is straight forward and each of the variations explores a under the apple tree based on a Russian folk different mood and is given a different treatment. Similarly, the dance, The moon has gone down and Song of appealing Minuet and Gigue are also simple and straight forward. the peddlers. These are clever, short, primarily tonal works which These pieces make a welcome addition to the scanty late 19th are cute. Perhaps they could be used as encores. century repertoire for string trio and would do well on any con- cert program, though they present no technical difficulties what- Johann Pezel (1630-1694) German composer. Southern Music soever. Company published what they called Trio in d minor in 1986. This was taken from a suite for strings, Musica Vespertina Lipsi- Ingatius de Orellana (1866-1931) was born in the town of St. ca composed in 1669). This is a very easy baroque work in five Helier, on the island of Jersey. He studied violin in London and short movements: Prelude, Allemande, Courante, Sarabande, worked as leader of several London theater orchestras before be- Gigue. coming a conductor of operetta and musical comedies. He was also a composer, though few of his compositions seem to have Wenzel (Vaclav) Pichl (1741-1805) was an survived. He wrote the overture to Noel Coward's musical, Bitter- Austrian composer and violinist. Among his sweet. His String Trio in c minor was published in London in string trios are his Six Trios Concertant, Op.7 the late 1880's. In four movements, the first, Adagio-Allegro ma which date from 1783. The melodic writing is non troppo, begins with a slow, gloomy baroque-sounding intro- that of the Vienna classical composers but as duction. The main part of the movement has a stormy quality and the title suggests, the style is concertante. full of forward drive. The principal subject of the second move- ment, Andante cantabile, is a lovely, dignified melody first sung by the viola. Next comes a bright, chirpy Menuetto, quasi allegro. Ignaz Pleyel (1756-1831) Ignaz Pleyel (1757 The finale, Allegro, is an energetic, foot stomping rondo. This -1831) was born in the Austrian town of Rup- pleasant work makes no grand pretensions. Clearly intended to persthal. He began is studies with Jan Baptist serve as house music, it succeeds admirably in its goal. Well- Vanhal and then with Haydn, who, along with written, with grateful parts for all and presenting no technical Mozart, considered Pleyel extraordinarily difficulties, this is a work which amateur trios will certainly en- talented. Mozart is said to have called Pleyel joy. the "next Haydn" and Haydn saw to it that his star pupil's works, primarily chamber music, Hubert Parry (1848-1918) was an English were published. Pleyel's reputation quickly spread and he ob- composer. His Two Intermezzi for String tained the position of Kapellmeister at one of Hungary's leading Trio were composed in 1886. The first is a courts. Later he moved to Strasbourg where he worked with somewhat sad and reflective Lento espressivo. Franz Xaver Richter and settled there. During the French Revolu- The score is rich and at times it almost sounds tion, he moved to London but later returned to France and be-

-16- came a French citizen. In 1795, he founded a publishing firm Heinrich Aloys Präger (1783-1854) Dutch/German Composer, which bore his name. It became one of the most important in violinist and virtuoso guitarist. He had a gift for melody and France, publishing the works of Beethoven, Hummel, Boccherini, could write effectively. He wrote a great deal of chamber music Onslow, Clementi, Dussek and many others. In addition he none of which appears to have received reprints within the past founded a famous piano manufacturing company which also century. It awaits rediscovery. Certainly at least one of his Three bears his name. Pleyel and his music were quite famous during Grand Trios Op.42 Nos.1-3 deserves to be republished. The his lifetime. In England, for a time, his music was more popular trios require technically assured players. than that of Haydn. The three Trio Concertantsm Op.11 were published as Pleyel’s Op.11.uin 1790 but were composed in Max Reger (1873-1916) German 1787. Each of these trios has two substantial movements. In the Composer. Reger’s two string trios must be E flat trio, the opening movement is an Allegro and the finale a counted as important contributions to the Rondo. There is no slow movement. If one listens closely, it is literature. The first, String Trio No.1 in a apparent that Pleyel in several instances has the voices imitate the minor, Op.77b dates from 1904. In it, Re- sound of horns, a common practice among Viennese composers, ger is clearly moving tonality to its limits including Mozart, when writing in this key which was a favorite and then retreats back into the safe havens of of that instrument. The D Major trio is unusual on several counts. romantic and classical melody. The opening First it begins in 3/4 rather than 4/4 which was standard at that movement begins with a brief, somewhat time for opening movements and it begins pianissimo. Most depressed and worried introduction reminiscent of late Beetho- opening movements usually began forte. Finally, the mysterious ven. Then the tense main theme of the Allegro agitato literally chromatic opening leads to a development section based on the explodes. Only briefly does the sun peek out of the clouds but notes B-A-C-H. The concluding Rondo is a witty parody of the then with the appearance of the lovely, lyrical second theme, all so-called Marsch-Militaire, quite popular during the late 18th is sunny. The reflective second movement, Larghetto, is charac- century. The F Major trio is in true concertant style but here one terized by a deeply introspective quality. The brilliant third finds that the cello. more frequently than one might expect, push- movement, Scherzo, vivace, is a humorous take off on the tradi- es the violin into the background as does the viola. tional German Dance. In the finale, Allegro con moto, Reger quotes a well-known theme from Mozart's Abduction from the Manuel Ponce (1882-1948) Mexican composer. Seraglio and then dresses it up in modern clothes. The second He composed two works for string trio. The first theme, wayward tonally, provides an beautiful contrast. For good His Petite Dans le Style Ancien was published measure, a march is thrown in before the satisfying and jovial by Peer International in 1959 but dates from finale. String Trio No.2 in d minor, Op.141b appeared in 1915. 1938. It is a baroque style suite in four move- The opening Allegro begins with a searching melody. Sadness ments. Prelude, Canon, Air, and Fughetta. En- and a sense of loss pervade this music. A second theme is some- tirely tonal, and baroque sounding with only an what brighter in mood. The middle movement, Andante sostenu- occasional modernity. Not at all difficult and to , is a theme and set of variations. The theme is, for Reger, par- fun to play. It has been recorded a number of times. The String ticularly sweet and straight forward. The several variations (we Trio dates from 1943 and was also published by Peer Internation- present 2 in our sound-bite) show Reger's inventiveness and tech- al. It combines various styles such as polytonality and neoclassi- nical skill. The lively and upbeat theme of the finale, Vivace , cism. It is a tonal work in four movements, Allegro non troppo harks back to Haydn. Its brilliant presentation is in fugal format. espressivo, Moderato, tempo di minuetto, Cancion, andante es- The melancholic second theme makes brief appearance but once pressivo and Rondo scherzoso, allegro giocoso.9 before the return of main melody which leads to an exciting fin- ish . Franz Alexander Possinger (1767-1827) was an Austrian com- poser. His Op.36 String Trios Concertants were composed Anton Reicha (1770-1836) Austro-Czech sometime between 1790 and 1805. The structure and clarity or composer active in Vienna and Paris. Reicha the writing point to the late classical era but there are also hints of is primarily famous for his wind quintets. His the coming Romantic movement in some of the daring harmonies Trio in F Major dates from around 1805 and fuller writing. The Op.36 trios are very interesting. While the and was republished Wollenweber Verlag in melodies are by no means extraordinary, Pössinger’s treatment of 1988. The trio opens with a lengthy and them and his development are very noteworthy. Compared to rhythmically rather fussy Adagio molto in- quartet writing of the same period, trios tended to spread the the- troduction. Full of 32nd and 64th notes matic material more evenly between the voices. Pössinger makes which are exposed it is by no means easy. the most of this and does so in a rather unique way that few if any The main part of the movement, Allegro vivace is a fugue on two others did. There are frequent changes in register which herald in subjects. a reversal of roles. For example, the cello will be suddenly yanked out of the bass clef and find itself playing in the lead, but Johann Friedrich Reichardt (1752-1814) very high in the violin’s register, while the latter assumes the Prussian composer. His String Trio in B flat function of the bass on its g string. This results tonally in a very Major, Op.1 No.3 . dates from 1778 and is closely set, high arrangement and creates a very unusual instru- three movements. The style and thematic mate- mental timbre. And quick changes in register often make for a rial is of the sort found in Mozart's violin con- separation of more than two octaves between the voices. certos though not as fine melodically.. The main theme to opening movement, Allegro ma non troppo, is fluent and gracious, flowing

-17- along easily. There are several short bursts of solo passages given WoO 70 No.2 . Ries could write quite effectively and several of to each of the instruments. The second movement, is an Andante his piano trios, piano quartet and string quartets are well-worth with four variations. The theme is rather ordinary and the varia- reviving. It is probably not an accident that these works remained tions straight forward. The finale, Vivace, is much like the open- in manuscript for so long. While much of the thematic material is ing movement. This trio as well as the Op.4 is workmanlike but attractive, virtually none of it is to be found in either the viola or like dozens of others from time. It is definitely on a rung or two cello parts. below similar works by the Wranitzky brothers or Franz Krommer. Sofie Rohnstock (1875-1964) German composer. Her String Trio in G Major is a tonal work with some dissonance. It is in Carl Reinecke (1824-1910) German composer, three movements: Con anima scherzando grazioso, Andante and teacher, pianist and conductor. One of the su- Vivace. For the most part it is a pleasing work and technically not perstars of the 19th century, Reinecke’s String difficult, however, it seems to me that several parts are needlessly Trio in c minor, Op.249 has to be counted as a complex rhythmically and add nothing. masterpiece for this combination. Among the greatest of late romantic works for this combi- Alessandro Rolla (1757-1841) was an Italian nation. This string trio is infused with the de- composer, teacher of Paganini and violin and viola velopments of late, and even Post-Brahmsian, virtuoso.-Rolla’s works have been catalogued by romanticism. The writing is very contrapuntal and original. The Luigi Bianchi and Luigi Inzaghi and now bear BI dark and brooding opening Allegro moderato is painted on a numbers along with the opus number under which large canvas. It shows a wide range of emotion and richness of they have traveled for the past 150 years. I have tonality, Reinecke easily and often makes the three voices sound not seen their catalogue so I cannot definitively like four. The Andante which follows is a theme and set of varia- say how many trios Rolla composed. Some sources say 9 some as tions. It is more intimate and trio-like than the preceding move- many as 18. His best known set of trios are the String Trio Nos.1 ment, beginning with a naive, quiet melody. Our sound-bite is of -6, Op.1, BI 351, 349, 344, 346, 341 and 347. The Op.1 Trios the energetic, dance-like fourth variation. The very brief third are entitled Trio Concertante and they are written in the movement, Intermezzo, Vivace ma non troppo, is a heavily syn- concertante style, that is to say, the melodic material, which may copated scherzo with an interestingly contrasting middle section pass from voice to voice, is only in one voice at any given time. which illustrates Reinecke employing the new directions of Post- While that one voice has the melody, the other two are more or Brahmsian tonality. The big finale, Adagio, ma non troppo lento, less beating time or playing a kind of supporting harmony. The —Allegro un poco maestoso, begins as a lyrical and highly ro- Op.1 date from around 1800 I will confine my discussion to what mantic lied. It has a valedictory quality to it. The thematic materi- I consider the best two of the set. Op.1 No.1 in B flat Major, BI al of the Allegro is brighter but still densely scored, once again 351 begins with an Allegro assai. It is in formal 18th century in- creating a wealth of sound which belies the fact that only a trio is troductory Italian style and leads to the lovely main theme. A playing. brighter second theme is just the sort of thing Paganini often used in his chamber music and concerti. The highly ornamented and Maurice Reuchsel (1880-1968) was a French or- finely wrought second movement, Largo ma non troppo, begins ganist and composer. His String Trio in g minor rather calmly with each instrument taking its turn in presenting was published in 1910. He possesses a fine tech- the melody. Slowly the intensity builds. Perhaps nowhere better nique and good creative ideas which he is able to than in the buoyant finale, Rondo, allegro, can we hear the debt express concisely and without having to resort to Paganini owed to Rolla. Op.1 No.6 in G Major, BI 347 begins redundancy. For the most part, the tonality and with an Allegro vivo begins with a sprightly upward figure which harmony adhere to the traditional. In the very indi- is then developed in the typical Italian declamatory style. The vidualistic first movement, Allegro non troppo, the pithy main music is bright and carefree. Rolla then begins his concertante theme is followed by a more lyrical second subject which shows treatment, giving the violin first solo, then the viola and then the the influence of Ravel. The transitions and modulations are quite cello. The second movement, Tema con variazione, is a set of interesting. The masterly second movement, Andante sostenuto, four variations which are based on a rather simple but pretty tune. is a kind of serenade first sung by the viola to a pizzicato accom- In the second variation the violin and cello engage in a marvelous paniment. There follows a dramatic middle section and a clever give and take at breakneck speed. Another variation charms with transition back to the serenade. Next comes a spirited and lively its pizzicato accompaniment to the violin’s racing lines high Scherzo, Allegretto mosso, complete with a more melodic trio above. Then suddenly a storm bursts forth. The finale, Rondo, section. The finale begins with a short Adagio introduction in presto, is lively and full of clever interplay between the parts. which we hear the theme from the serenade. It leads to the main section, Allegro appassionato, in which the main theme from the Engelbert Röntgen (1829-1897) was born in first movement reappears. the Dutch city of Deventer into a German mer- chant family. He attended the Leipzig Con- Ferdinand Ries (1784-1838) German composer servatory where he studied violin with Ferdi- and virtuoso pianist. One of Beethoven’s best nand David, Mendelssohn's personal choice known students and his first biographer, Ries for the position of concertmaster of of the wrote a great deal of chamber music. Two string Leipzig Gewandhaus Orchestra, and composi- trios were recently published for the first time by tion with Moritz Hauptmann. . His son Julius Accolade Musikverlag. These are styled Trio in E became a prominent composer active Amsterdam. Engelbert, flat Major, WoO 70 No.1 and Trio in c minor, himself, eventually became concertmaster of the famed orchestra

-18- and also a professor of violin at the Conservatory. In addition to soon devolves into a calmer and more lyrical mood. The second this, he served as leader of the Gewandhaus Quartet for many movement, in contrast, is quite energetic, almost frenetic. The years. It is not known when or why exactly Röntgen composed a middle part resembles a rustic dance. The third movement is sub- Trio on Ashkenazic Themes . He himself was not Jewish, but titled Een Rondedans om de bruid naar bed te dausan. (A round many of his colleagues, such as David, Joseph Joachim and oth- dance which brings the bride to her bed). This was an old Dutch ers were. So he may well have had a Jewish colleague in mind, wedding tradition. The music resembles a lullaby, entirely appro- perhaps a cellist as the cello is given a particularly prominent priate since the bride is heading to bed. The trio concludes with a role. The String Trio on Ashkenazic Themes is in five move- graceful Allegretto S tring Trio No.4 in D Major, "Walzer ments: A sad and plaintive Adagio, a gay Gavotta, a playful Suite" also dates from 1919. The Trio in a minor, was actually Scherzino with somber trio, a masterly Improvvisata or Improvi- given the nickname "Walzer Suite" by Röntgen himself and one sation in which the cello or alternatively the violin play very finds it written at the top of his manuscript. It is in six short evocative passages and then finally a bright Allegro spirituoso. movements, each of which resembles a modified Viennese waltz Röntgen's compositional technique are beyond reproach. This or a rustic rural peasant dance. First comes a gentle waltz, then a work certainly makes an outstanding choice for inclusion on a rather relaxed Ländler, which is followed a rather rough, almost recital program harsh dance, perhaps an offshoot of a peasant mazurka. The fourth and fifth movements are a tonally wayward, languid Julius Röntgen (1855-1932) was born in the Viennese waltzes. The finale and most substantial of the six German city of Leipzig. His father was a violin- movements begins in fugal fashion but eventually morphs into a ist and his mother a pianist. He showed musical peasant dance. String Trio No.7 in G Major dates from 1920.It talent at an early age and was taken to the is in four movements and opens with a genial Allegro piacevoie, famed pianist and composer, Carl Reinecke, the relaxed and even a little delicate. It has the air of a folk dance. director of the Gewandhaus orchestra. Subse- Next comes a lively scherzo, Poco allegro e leggiero. It begins quently he studied piano in Munich with Franz with an almost oriental sounding subject which is created by the Lachner, one of Schubert's closest friends. After rhythm and the wailing tune enunciated in the viola. Next comes a brief stint as a concert pianist, Röntgen moved a slow movement, Poco adagio e sostenuto, filled with lovely to Amsterdam and taught piano there, helping to found the Am- long-lined melodies which are passed from voice to voice. The sterdam Conservatory and the subsequently world famous Con- finale, Allegretto con grazia, is a jovial affair, energetic and full certgebouw Orchestra. He composed throughout his life and es- of good spirits. pecially during his last 10 years after he retired. Though he wrote in most genres, chamber music was his most important area For a Eugene Sauzay (1809-1901) French violinist, long time, it was thought that Röntgen had only composed one musicologist and composer. His String Trio string trio, his Op.76 in D Major which appeared in 1924. But it in G Major, Op.8 dates from the mid 19th turns out that Röntgen, a highly prolific composer, wrote string century. It was reprinted by Merton Music. It trios throughout a good part of his life, and especially toward the is in four movements: Moderement, Romance, end of it. There are at least 16 that are known of and perhaps Minuet and Avec vivacite. He is able to think more yet to be discovered. Most are still in manuscript although up an attractive eight bar melody but is unable Edition Silvertrust has brought out several of these. His String to do anything with it except to repeat it a Trio, No.1 Op.76 as noted dates from 1924. The ideas in the first dozens of ways so that the music quickly becomes boring. movement, Vivace e giocoso, are cleverly presented. The main theme though not a lyrical, warm melody, sounds good and the Hermann Schroeder (1904-1984) German plays without any difficulties. The second movement, Un poco composer. His String Trio in e minor, Op.14 Andante, has a noble, aristocratic melody, on the austere side. No.1 was published by Edition Schott in 1933. The charming third movement, Allegretto e scherzando, is in the It is in three movements, Agitato, Adagio, and form of an old-fashioned Bouree, based on an old Dutch folk Allegro. Although a key signature appears in the song. The very attractive finale is both fresh and inventive. It title, this is not a traditionally tonal work. On begins with a Bachian Passepied. There are a series of variations the other hand, it is not unrelentlessly dissonant. characterized by different tempi, including a heavy fugue, and It is not hard to play and well put together and varying moods. String Trio No.2 in a minor, "Dvorak" was can be navigated by experience amateurs. completed in 1918. The subtitle appears on the original manu- script. Dvorak was one of Röntgen’s his favorite composers and Arnold Schoenberg (1874-1950) was an Austri- he took for the main subject of the first movement, Allegro con an composer and founder of the so-called Second brio, the opening bars to Dvorak's violin concerto. This theme Vienna School which practiced 12 tone and aton- dominates the entire energetic and attractive movement and sub- al music. His Op.45 String Trio falls into this sequently makes its return in the finale. The middle movement, category. It is beyond amateur players and Andante grazioso e con molto delicatezza, is in two parts which though it has been recorded more than once, it is are constantly being juxtaposed. The first features a dialogue be- generally not a particularly enjoyable work to tween the two upper voices to the cello's pizzicato accompani- listen to. ment. In the second section, which bears the character of an inter- mezzo, the cello takes the lead. The finale, Allegro sciolto, is a Franz Schubert (1797-1828) Schubert wrote one complete trio lively affair, the main subject, a hunting melody is full of energy. and a single movement, presumably meant to be the first of an- Toward the end, the Dvorak motif returns. String Trio No.3 in e other. Neither were published until the end of the 19th century. minor was completed in 1919. It begins almost like a scherzo but The single movement has gone by the title of Trio No.1 in B flat

-19- Major, D.471 . It dates from 1816. In the one movement, Allegro, Con fuoco, subtitled Scherzo, Molto tranquillo and Toccata. This Schubert treats all three instruments equally, unusual for this pe- is not a particularly easy work to play with many hard rhythmic riod. The themes are good though not among his most gorgeous intricacies, enough so that for long stretches the parts of the other but the whole things is quite well executed. Trio No.2 in B flat voices appear in each part. It is effective and well-written but in Major, D.571 (the complete trio) was composed in 1817. Sur- my opinion nowhere near as appealing as his String Trio in B prisingly, it is a step back from the earlier movement. Here, the flat Major, Op.130 which dates from 1944. This is a good mod- instruments are not treated as equals. The violin leads in every ern tonal work. There are some dissonances but they are mild and movement almost all of the time. The viola and cello are left with generally quickly resolved. The first movement, Moderato, has the role of supporting accompaniment. The opening theme of the easily identifiable and pleasant themes with an excellent coda. first movement, Allegro moderato, is lively and somewhat lyrical The second movement, an Adagio, is primarily peaceful and re- but as it is developed rhythmically tricky. The main subject of the flective. Next comes Variations on a Catalonian Folk Song, (La Andante which comes next, is attractive and typically Schuberti- Filadora). The variations are well done, with different tempi and an and all in the violin. The minor section makes has the greatest moods. The lively finale, Molto vivace, is attractive and exciting. appeal. The following Minuet is straightforward and unremarka- Not at all difficult, this is a candidate for the concert hall but also ble, however, at last, in the trio section, the melody is taken away should not be missed by amateurs seeking a nice modern work. from the violin and given entirely to the viola which sings an Austrian Ländler.. The finale, Rondo, allegretto, has attractive Leone Sinigaglia ((1868-1944) Italian themes, again only in the violin. Both works have remained in Composer. Sinigaglia composed his Serenade print from a number of publishers and have been recorded several for String Trio in D Major, Op.33 in 1908. times. This work belongs in the front rank of string trios, especially for its period. It is full of William Shield (1748-1829) was an English original ideas and invention and is extraordi- composer and violinist. He wrote nine string narily well-written for the three instruments. trios. The first six were published in 1796 The first movement, Allegro moderato, is with no opus number. A second set of three written in a clear and charming style, the second theme is espe- came out in 1811. The style is that of early cially beautiful. The second movement, Intermezzo, allegretto Mozart, circa 1776 or so. These are melodic vivace, is both humorous and uncommonly well-done. The next works, written mostly in a concertante style, movement, Egloga, andante mosso, serves as the slow movement with each of the instruments getting grateful but also has in the middle a scherzo section. The exciting and solos to play. The writing reveals that the very effective finale, Capriccio, Allegro vivace, ma non troppo, composer was a string player and knew how to write well for requires fleet and clean execution. Perfect for the concert hall, but these instruments.I will confine myself to those with which I am very manageable by good amateur players. familiar. String Trio No.1 in E flat Major The trio is in three movements and concertante style, showing the influence of the Nikolai Sokolov (1859-1922) was a Russian Mannheim school of the Johann and Carl Stamitz as well as his composer. His String Trio d minor, Op.45 friend Haydn. The work opens with an Allegro followed by a dates from 1910, is in four movements. It Largo. The title to the final movement is quite interesting and begins with an Allegro moderato in which the shows that Shield was attracted to, what was then, the exotic. The composer indicates that the tempo will fluctu- marking is Giuoco, alla Sclavonia-Tempo straniere con varia- ate. At first the music is rather leisurely but zione—roughly, playful in the foreign Slavonic manner.Actually, after a while Sokolov quickly changes the it is a modified Polacca. String Trio No.2 in D Major .is in three tempo. The music has many of the hall-marks movements and concertante style, showing the influence of the of the Belaiev Circle and Rimsky Korsakov with its light touches. Mannheim school of the Johann and Carl Stamitz as well as his The second movement, Adagio, recalls some of the music of Bo- friend Haydn. The work opens with a bright Allegro followed by rodin, while the quirky Andantino capriccioso which follows is a a deeply felt Molto adagio and closes with upbeat Rondeau alle- very original sounding scherzo. The finale, Adagio-Allegro, be- gro, String Trio No.3 in A Major is in three movements and gins with a lengthy, slow introduction in which the cello is given concertante style, showing the influence of the Mannheim school a dramatic solo. The main section is a robust Russian sounding of the Johann and Carl Stamitz as well as his friend Haydn. The theme, which is suddenly followed by a lyrical, somewhat slower work opens with an Allegro followed by an lively Andante grazi- melody. oso and closes with stately dance Un Giuoco. String Trio No.5 in C Major is in three movements and concertante style, showing Willibald Sommer (1846-1935) was a German composer. He the influence of the Mannheim school of the Johann and Carl wrote three string trios, Op.3, Op.5 and Op.8 . String Trio No.2 Stamitz as well as his friend Haydn. The work opens with an at- in d minor, Op.5, which dates from 1899, has received a modern mospheric Largo e sostenuto and followed an inventive Tempo di reprint. In it, each voice is given a grateful part. The work pre- Ciaccona. sents no technical difficulty. It is written so well and sounds so good that one is does not miss a fourth voice and the thematic Otto Siegl (1896-1978) was an Austrian Com- material is very skillfully handled. Modulations, variations and poser. His Divertimento for String Trio, the inventiveness of ideas are all well done, fresh and pleasing. Op.44 was published by Doblinger in 1926. One hears that this composer stylistically was influenced by This is a polytonal work with no fixed tonal Haydn, Mozart and early Beethoven. Trio No.2 begins with an bass. It has five movements, Allegro assai, An- energetic Allegro moderato which also has moments of lyricism. dante mosso, which is subtitled Canzonetta, An Adagio with a bustling middle section is followed by a rhyth-

-20- mically fiery Menuetto. The finale opens with a short Adagio Leo Weiner (1885-1960) Hungarian introduction before giving way to an Allegro, Polish in style. composer and teacher. Weiner’s String Trio in g minor, Op.6 was composed in 1908. Hermann Spielter (1860-1925) who was born in the German Rightly considered a masterpiece from the town of Barmen. He studied piano and composition and was ac- time of its premiere is in four movements. The tive in Schwelm for a number of years as a teacher and composer. first movement, Allegro con brio , is attractive Some time around 1900, he emigrated to New York, where he throughout. The rhythmically interesting Vi- spent the rest of his life. In America, he continued to compose vace (a scherzo) which follows is both very and held several conducting positions as well as continuing to lively and gay, while the middle section features exotic harmo- teach. The Little Serenade in G Major for String Trio, Op.32 nies. The third movement, Andantino, is a theme and excellent set was composed in 1889 while he was still in Germany. It is a love- of variations. The exciting finale, Allegro con fuoco, is a mix of ly, short work in one movement, posing no technical difficulties. élan and gaiety. This trio, which presents no special technical The trio, though intended for Violin, Viola and Cello can also be difficulties, should be appeal to amateurs as well as professionals. played by a trio consisting of 2 Violins and Cello as Spielter pro- vided a second violin part which could be played in lieu of the viola. Julius Weismann (1879-1950) German Composer. His String Trio, Op.157a Sergei Taneyev (1856-1915) Russian composer was composed in the late 1940’s. It is and teacher. Taneyev wrote three works for entirely polytonal and in four move- string trio but there is only one complete work ments: Allegro moderato, Scherzo, mol- for violin viola and cello. The String Trio in D to vivace, Lento solenno and Fuga. (no opus dating from 1879/1880) Despite the Though well-written and not difficult fact that the parts to this trio have always re- technically, it is interesting but there is mained in print, the work is virtually never nothing in particular which makes its standout from other such heard in concert. It is a big work in four move- works. ments. The opening Allegro is in a romantic cast but has a hint of the baroque, especially in its middle fugal sec- Friedrich Wildgans (1913-1965) Austrian tion. Most unusual is the Scherzo in contrapunto alla riversa in composer and teacher. His Drei Kleine which the counterpoint is played in reverse. A short but powerful Stücke (Three Small Pieces) for string trio and elegiac Adagio is then followed by a very exciting finale, were composed in 1935 and published by Allegro molto. Without doubt, this trio, with its wonderfully rich Doblinger in 1961. They three move- part-writing, should be in every string trio group’s library. Tanei- ments—–Allegro deciso, Andante and Alle- ev’s Trio in E Flat, Op.31 dates from 1910 and was originally gro con brio are short. They show the influ- written for violin, viola and tenor viola. It has been reprinted by ence and speak the language of Webern Wollenweber Verlag The publisher recognized early on it would who was one of Wildgans’ teachers. They not sell and an alternate cello part was immediately created. It has are interesting, much in the same way that such pieces as We- appeared in this guise ever since. This is another huge and im- bern’s are. . pressive work. Beginning Allegro con brio , the trio often sounds more like a quartet because of the rich part-writing. Again there Ermanno Wolf-Ferrari (1876-1948) was an are elements of the romantic combined with the baroque. The Italian composer. His Trio in b minor dates Scherzino, Allegretto vivace which follows has a delicate but ele- from 1894 while he was a student. From the gant filigree quality to it. An Adagio espressivo is a tender and first bars of the opening Allegro, the fusion of ethereal affair while the interesting finale, Presto, shows some of his two national heritages can be heard. The the influence of Beethoven’s Middle Quartets. The final work for short, moody introduction which becomes the this combination, the Trio in b minor dates from 1913. He only first theme shows the influence of Brahms. completed the first two movements. A forceful and brooding Al- This is immediately developed in what might legro, which though written in late 19th century romantic idiom, be called the bright, sunny Italian vocal style nonetheless shows the influence of Beethoven's Late Quartets. of long-lined melodies. A cheerful and large Larghetto begins The pitch remains quite low for much of this very effective with the violin singing a happy aria over the lower voices. The movement. It is followed by a sad, albeit not tragic, theme and 7 other voices are given a similar solos as the theme is developed. marvelous variations. Like Schubert’s Unfinished Symphony, one Wolf Ferrari apparently planned for the trio to have four move- can only wonder at the incredible edifice being erected. These ments but the Scherzo which is the 3rd, concludes the work. The two movements can stand alone. 4th movement was either lost or never composed. This Scherzo is unusual and robust. The cello is given the thematic material in the Anton Webern (1883-1945) was an Austrian first section. Both rhythmically and tonally the music has the composer and prominent member of the so- imprint of Rheinberger. One could hardly do better for a teacher called Second Vienna School which specialized of scherzi. The middle section is a lovely Neapolitan tune. In no in 12 tone and atonal music. His Op.6 and Op. way does this fetching music sound like a student piece. String Post trio fall into this category. But they are Trio No.2, Op.32 in a was written in 1945 during one of the somewhat more interesting to listen to and can be darkest periods of Wolf-Ferrari’s life, a time when he nearly managed by experienced amateur players. starved to death. The opening Allegro consists entirely of short episodes in which the agitated and, at times, violent main theme

-21- is juxtaposed against a sad and reflective plaint. The beautiful middle movement, Pastorale, Andante tranquillo , is simplicity itself. The finale, Allegro , is a kind of devil’s rondo, quite robust. The second theme is a burlesque, a demonic and disjointed dance, which creates the same mood that Shostakovich sometimes evokes by using such dances. (This is not to suggest, however, that this music sounds like Dmitri’s.) A spooky unison tremolo coda concludes this first rate work on a note of despair.

Paul Wranitzky (1756-1808) Austrian compos- er, conductor and violinist from Bohemia active in Vienna. His original name before he German- ized it was Pavel Vranicky. He wrote a huge amount of chamber music. No one knows just how many string trios he wrote. From time to time different publishers have reprinted various ones. I only know of two which are in print. String Trio No.1 in a minor , the first of a set of six, was recent- ly published by Daniel Bernhardsson. It is one of the composer’s earliest published works dating from the 1780’s. It is in four movements: Allegro, Poco adagio, Minuetto and Allegretto. It is tuneful and well-written as is most of his music. Although written in concertante style, it is a relatively simple work most likely aimed at the amateur market. Most of the interest is in the violin part, however, the viola and cello do get a few solos. A far better work is his String Trio in D Major , which was published by Medici Music Press in 1983. One of a set of six, presumably the best, which were published in 1790. This is a far better work and a worthy representative of the Vienna Classical Period. It is only in four movements—Allegro moderato and Rondo, presto assai, The melodies are attractive and more evenly split between the voices. Technically, this is not a hard work, except for the cello part in the first movement which has several passages in thumb position.

Eugene Ysaye (1858-1931) Belgian violin virtuo- so and composer. His string trio is entitled Le Chimay and dates from 1927. It is a lengthy one movement work. Ostensibly tonal but with no real identifiable melodies. A strident work showing French impressionist influence but not its beauty.

Bernd Zimmermann (1918-1970) was a Ger- man composer. His String Trio dates from 1944 and was recorded on a Cadenza CD. The parts are available from Schott. The style is pol- ytonal but not atonal. The trio shows some in- fluence of Bartok but is quite original, express- ing considerable dramatic passion, not surpris- ingly as it was written toward the end of the Second World War. It is engaging to hear and while not easy within the range of experienced amateurs.

-22- String Trios for 2 Violins and Violoncello or 2 Violins and Viola

Most people generally have come to consider is the string trio, a His Op.1, G.77-82 trios are a set of six (it was then standard work for violin, viola and violoncello. However, this would not practice to compose and publish trios or quartets in sets of six), have been the case prior to 1800 when most string trios were for composed and published in Vienna in 1760. These trios are a the combination of two violins and violoncello. Such works were representative example of the changing musical expression the direct descendants of the trio sonata of the Baroque era around the middle of the 18th century. They combine elements of Additionally, there have been trios for 2 violins and viola, violin late Baroque with the new emerging Classical style pioneered in and 2 violas, viola, cello and bass and perhaps other Mannheim and Vienna. The trios are the descendants of earlier combinations. Only a handful of such works were composed such works by Corelli and Tartini. The choice of three move- ments per work harks back to the Baroque as well as the place- The Russian composer Alexander Alyabiev ment of a slow, movement followed by two faster ones, seen in (1787-1851) wrote a short work Variations on the last four of the six trios. The trios, generally in written in con- a Russian Folk Song, (In the vegetable gar- certante style, who that Boccherini’s thinking was, even at a den) published by Wollenweber. It is for 2 Vio- young age, quite advanced in that the writing for the three voices lins & Cello . According to the publisher, it was is quite balanced and not merely shared between the two treble intended as part of a larger work. It is well- voices. No doubt, this was because Boccherini was a cellist and done, effective and fun to play. most likely planned to premier his own works.

John Antes (1740-1811) was born in Frederick, Pennsylvania, Boccherini's Op.34, G.101-106 string trios for two violins and the second generation of a German Moravian family. He was a cello, also a set of six, are probably the finest he wrote for this violinmaker, watchmaker, inventor, missionary, theoretician, ensemble The intricate part-writing is excellent, the moods and businessman and composer. He met and knew Haydn personally tonal colors he brings forth are wide-ranging and the overall and his three trios, Op.3 Nos.1-3 for 2 Violins and Cello are treatment of the three voices leave nothing to be desired. Of the dedicated to him. Most scholars believe they date from sometime set, Op.34 No.4 in D Major , nick named El Fandango , is per- between 1770 and 1781. Haydn wrote dozens of such trios and it haps the most attractive. Most probably, Boccherini's royal patron is fair to assume that they probably served as Antes' model. But expected his composer to at least occasionally utilize native mel- unlike Haydn's trios, Antes treats the three instruments as equals odies and dances and it is not surprising to find these in many of which was perhaps without parallel for the time, especially since his compositions. The structure of the trio, especially the second Antes was not writing in the concertante style which was then movement, is quite interesting. It opens with a moody and melan- still prevalent. Of particular note is the fact that the cello does not choly Allegro moderato assai. For the most part, it sounds, slow take the role of basso continuo, but plays a part almost as im- and meandering but 32nd note passages create the illusion of a portant as the violins. quicker tempo. The second movement, Grave--Allegro, begins with a very dark, funereal dirge for its introduction. The Allegro Luigi Boccherini (1743-1805) was born in the town of Lucca in which serves as the main part of the movement, is a wild dance--a northern Italy. He studied cello and became a fandango, a traditional dance of Spanish origin. A brief Adagio in virtuoso. He is one of the best known classical which the cello is given a short cadenza interrupts the festivities era composers outside of the German countries. without warning before the Allegro returns. But surprisingly, the Like most of his contemporaries he wrote a movement is concluded by the reintroduction of the Grave. The great deal of music and even today, despite the closing movement, as was traditional for the time is a Menuetto, a effort of various scholars, including Gerard, it stately and traditional although toward the end it picks up speed. is not certain just how many works he com- posed. Boccherini wrote over 70 string trios. Alexander Borodin (1833-1887) is well- Why so many? The answer lies in the fact that during the last half known for his orchestral pieces and not his of the 18th century, the string trio was the most popular chamber chamber music. Nine out of ten people could ensemble and virtually all of the active composers lavished their not tell you that the famous Borodin melody talents on them. Of his 70 string trios all but a dozen or so are for in the popular Broadway musical Kismet is 2 violins and cello, rather than violin, viola and cello. Boccheri- from his Second String Quartet. But Borodin ni’s opus numbers are often confusing with different works some- wrote several lovely chamber music works. times sharing the same opus number or the same work having These fall into two distinct periods. The first different opus numbers. This is due to the fact that Boccherini is from his time in Germany during the late sent the same work to different publishers and also that he some- 1850's when he was doing post graduate work in chemistry. His times rearranged a work from a different combination. The best main occupation was that of a Professor Chemistry at the univer- and most reliable guide is the catalog of his works created by sity in St. Petersburg. Music was only a hobby he engaged in for Gerard, hence the G numbers. Only these trios which have sur- relaxation. The String Trio in g minor for 2 Violins & Cello is vived and are the most deserving of attention will be discussed one of the earliest works of Borodin which is extant. It dates from here. They are for 2 Violins & Cello . 1855, the time during which he was in Germany. It is relatively

-23- short and in one movement, a theme and set of eight variations. Violins and Viola or Cello published in a new addition by SJ Unlike his other works from this period it escapes the influence Music. A work from the mid-19th century. Pleasant, easy to play, of Mendelssohn, largely because of its use of a once well-known nothing special for home and amateurs only. No recording. Russian folk song, What have I done to hurt you? as the theme. The Trio remained as a forgotten manuscript until it was finally Antonin Dvorak (1841-1904), the famous published by the Soviet State Music Publishers toward the mid- Czech composer, wrote one of the very best 20th century. works for 2 Violins & Viola, his Terzetto, Op.74 Although Dvorak may have had ama- Born in Sussex, Frank Bridge (1879-1941) teurs in mind when he composed it, this is not learned to play violin from his father, and had a work for beginners or those of very modest much early exposure to practical musicianship, technical accomplishments. To the contrary, playing in theatre orchestras his father conducted though not overly difficult it does require play- He studied violin and composition, the latter ers with an assured technique as Dvorak found from Charles Stanford, at the Royal College of out when he tried the work with his chemistry Music. He later played viola in prominent quar- student neighbor for whom the work was too difficult. Unde- tets and was a respected conductor His Rhapso- terred, Dvorak set to work on another work of less difficulty and dy Trio for 2 Violins and Viola dates from the result was his Four Minatures, Op.75a for the same combi- 1928, his so-called modernist period and is one nation, Dvorak, at the time, had been living in his mother in-law's of his last chamber music works. It is in one, very substantial house. She had rented out a room to a chemistry student who was movement with several sections (if which we present 3) that an amateur violinist. Dvorak, a viola player, often heard his created by tempo changes. The overall mood is one of mystery neighbor playing duets with his violin teacher and conceived the often created by the blending of major and minor tonalities which idea to write a trio so that he could join in. The result was the create a light, gossamer, almost transparent feel.It is a work with Op.74 Terzetto. However, it proved too difficult for the chemis- a strong fantastic character, very personal themes, and wonder- try student, so Dvorak sat down to write a less demanding work, fully resourceful writing for the instruments and deserves to be The Minatures are charming and the Terzetto is worthy of con- heard in concert. cert performance.

Arcangelo Corelli (1653-1713) was an Andreas Ehrhardt (1823-1884) pursued a career as a concert Italian violin virtuoso who lived at a time violinist and teacher, as well as a composer. He spent the greater when the violin was emerging as the most part of his life in Hamburg. His Op.19 Trio in e minor for 2 important of all concert instruments. It was Violins & Cello was composed in 1870 and was published in the age of the great violin makers-- 1877. Wilhelm Altmann praised the trio for its superb composi- Stradivarius, Amati and Guarnerius--and tional technique and handling of the instruments and considered the craze for the new music being com- it among the very best for this combination. It is not particularly posed for the violin swept across northern difficult to play and every instrument is given an important role. Italy, which became the birthplace of the In the first movement, Allegro agitato, we find a restless, energet- Baroque sonata. Corelli revolutionized violin playing and his trio ic main theme followed by a more lyrical second subject. It is sonatas, which were studied by Bach, Telemann and Vivaldi to followed by a warm Largo con espressione. A spirited Scherzo, name but a few, are widely regarded as the beginning of chamber allegro molto, comes next. The work concludes with a fleet Pres- music as we know it. His Op.4 was a set of 12 trio sonatas to, perhaps a kind of gigue with a very pleasing lyrical second (sonata a tre) written for 2 violins and Cello (basso continuo). subject. While trios for 2 violins and cello were the norm during However, although the bass line is written out only as an una- the 18th century, by the 19th century they were superceded by dorned melodic line, Corelli placed figures under the notes (as the trios for violin, viola and cello. After 1800, very few such was the common practice) to indicate a plan for harmonization compositions were composed and after 1850, fewer yet. This fact should the ensemble wish to add a keyboard player, again a com- alone, makes this mid-romantic era trio an important addition to mon practice. the repertoire. But, in addition, the writing is of the best quality and makes this a work that should be in the collections of cham- Pierre Crémont (1784-1846) was a French violinist Op.13 trios, ber music players everywhere. a set of three, are in no way difficult to play and were intended for amateurs as a either a performance vehicle or for home music Robert Fuchs (1847-1927) the Austrian com- making. In the first two, the violins can play entirely in first posi- poser and teacher whose music is almost al- tion, should they so desire. The First Trio is in two movements ways on the very highest level and deserving of which are well written. Tonally, the first movement, Allegro performance in concert composed 2 trios for moderato, is especially appealing. The work concludes with a Two violins and Viola. Op.61 Nos1 & 2. They charming theme and set of variations. The Second Trio also has date from 1898. It can be said that in these tri- two movements. The opening Allegro is brilliantly scored. The os, Fuchs solved problem of no bass—the ab- Third Trio has three movements. Here, between the opening Al- sence of the cello—in as good a fashion as is legro moderato and closing Allegro vivace, one finds an appeal- possible. These works, which are structurally ing Andantino grazioso. excellent, contain many fine ideas and note- worthy melodies. Neither work presents any great technical diffi- Leopold Dancla (1822-1895), brother of the better known violin- culties. Op.61 No.1 begins with a slow introduction, Langsam ist Charles Dancla has had his Trio in G Major, Op.25 for 2 mit sinnigem Ausdruck, which leads to the lilting main section

-24- Heimlich bewegt, which is full of passion. An real archetypical composer, pianist and novelist. He composed two chamber trios Scherzo, Lebhaft bewegt, comes next. The third movement, for 2 Violins and Cello , his Op.41 Kammertrios (Chamber Tri- Langsam sehr zart, is a romance. The lively finale, Lebhaft os) date from 1911. They are especially welcome in view of the übermütig, is full of high spirits and dance-like rhythms. The first lack of good modern works for this instrumental combination. movement of Op.61 No.2. Energisch bewegt, doch nicht zu rasch They are beautifully written with appealing melodies and because has a very effective ostinato accompaniment in the viola to a they present no real technical difficulties are an excellent choice warm theme. The second movement, Anmutig, brings Brahms to for inexperienced ensembles. Kammertrio No.1 is in four, short mind. A piece in true Vienna Conservatory tradition serves as the movements---Moderato, un poco allegro, with a particularly ef- scherzo. Next is a very attractive Intermezzo. The finale sports a fective main theme, a very attractive Scherzo, vivace ma non charming main subject. troppo, Larghetto and to conclude, Allegro moderato. Kammer- trio No.2 is also in four, short movements which are connected to Ladislao Gabrielli (1851-19??) an Italian violinist He composed each other. It begins with a praiseworthy Con moto tranquillo and two trios for either 2 Violins and Cello or 2 Violins and Viola is followed by an Allegro grazioso and then an Andante with this combination, neither have opus numbers. They are Trio No.1 some lovely variations and concludes with an Allegretto. in E Major. Trio No.2 in d minor. Both appear to have been composed during the last third of the 19th century. Of the two, Ignaz Lachner (1807-1895) was the second of the second is more effective. The Trio is in three movements. The the three famous Lachner brothers. Like his first is a powerful and dramatic Allegro appassionato which bor- older brother Franz, he became a close friend ders on the operatic. The middle movement is a deeply felt Ada- of Schubert's and fell under the influence of gio espressivo assai and the work concludes with a gypsy-like, Haydn, Mozart and Beethoven. He composed a rousing finale, Allegro alla zingarese. Both are available from considerable amount of music, much of it Schott. They also is a version for 2 Violins and Viola. chamber music, including seven string quar- tets. His Die gute alte Zeit, Op.77 (The Good The prolific French composer F rancois Old Time) for 2 Violins and Cello dates from Gossec (1734-1829) was once highly 1874. He subtitled it Musikalischer Scherz--a musical treasure. It thought of. There have been a few modern is pretty clear that he intended it as a kind of gentle parody in the reprints of his Op.9 No.1 trio for 2 Violins spirit of Mozart's A Musical Joke. It is in three movements--- & Cello . The thematic material though mild- Maestoso, quasi andantino, Andantino and Allegro giocoso---is ly pleasant is pretty ordinary, not at all inter- meant to be a work from the Baroque era. Lachner left a note to esting or memorable.. The trios are a cross the players at the bottom of the first violin part. "Composer's between the Baroque and early classical. The Note: The performance markings should be followed exactly cello is given little to do, and only the violins since this will demonstrate the baroque style of playing. But the tet a chance to present what melodies there are. playing is meant to be a caricature." Unfortunately, much of Lachner's dry humor is lost to 21st century ears, in the same way Joseph Haydn wrote a great many trios for that few today can hear the humor or parody in Mozart's Two Violins and Cello , far more than he did for Violin, Viola and Cello. Among Karol Lipi ński (1790-1861) was a Polish these are his Opp.12, 21 and Divertimenti violin virtuoso whom many considered the Opp.25-31.The cello basically has no part in equal of Paganini. He wrote 2 string trios for any of these although the violins are treated 2 Violins and Cello: Op.8 and Op.12 . There well. They are pleasing. Several publishers, is no mistaking that these are not trios of Doblinger and Simrock have published equals but rather a vehicle intended for the some of these. Again, he is listed here for soloist, although the other players must also the sake of completeness. be accomplished and are sometimes given important thematic material. They will only Peter Hänsel (1770-1831) was an Austrian be of interest to a violinist of the first order. violinist and primarily chamber music com- posers. His Op.30 for 2 Violins & Cello, a set Fereol Mazas (1782-1849) was a French vio- of three trios was not published until 1876 but lin virtuoso who wrote several such trios. is in the style of Mozart and Haydn. Easy to Among these, his Op.18, a set of three for 2 play, they are effective worksbyt require a Violins and Cello were reprinted several competent first violinist to be sure, and may times by Litolff and Peters. The thematic ma- well have been intended by the composer for terial is limited to the violins with the cello himself. playing a very subordinate roll. However, they are effective. Zoltan Kodaly (1882-1967) wrote what is arguable the finest 20th century work for 2 Juan Oliver y Astorga (1733-1830) was a Spanish violinist and Violins and Viola, his Serenade, Op.12 . compose. His style is that of the Mannheim composers as he had Powerful, dramatic and highly effective, this is often collaborated with Johann Christian Bach and Karl Friedrich not a work for amateurs unless they are of the Abel. He is generally regarded , along with Boccherini, Soler, highest standard. It is a concert piece and not Scarlatti and Brunetti, as one of the most important musicians intended for home music making. working in late 18th century Spain. His Trio in C Major for 2 Richard Kursch (1879-1949) was German Violins & Cello appears to date from the mid 1770’s. It is in the -25- style of Johann Stamitz and Leopold Mozart. for Two Violins and Viola , which he titled Each instrument is handled quite well and Oli- The Village Music Director , was composed ver shows that he a gift for melody as well as a in 1904 and dedicated to the members of the true understanding of chamber music. famous Flonzayley String Quartet. It is clearly program music and Strong provided some notes to describe each of the three movements. The Austrian composer Ignaz Pleyel (1757- In the carefree first movement, Allegro pasto- 1831 wrote a number of worthwhile trios for 2 rale, we are told that blue skies and rolling Violins & Cello . They are mostly all in the meadows, country yokels and murmuring concertante style of the Vienna classics and are brooks are all the director has for his concert hall and orchestra. better than those of Haydn’s because the cello The motto of the second movement, Andante sostenuto, is "he is given some solos. Among those worth men- only loved once, he only suffered once." Yet, this is not a particu- tioning are the Opp.16, 17, 21 and 56 . Pleyel’s larly sad movement, rather it is calm and resigned. In the humor- opus numbers, like those of Boccherini are ous finale, Allegro scherzando, we are present at a music lesson often confusing because he sent his works to with two naughty students at which everything eventually goes several publishers who often used the same horribly wrong. It starts out well enough, but then the director opus numbers as other works. tries to teach his pupils about fugues. They will have none of it and mock him. He becomes angry but then tires and finally falls Hubert Ries (1802-1886) was a German violinist and brother of asleep. As in the Sorcerer's Apprentice, the students create mis- the virtuoso pianist and composer who studied chief and finally he awakes and pandemonium results. Superbly with Beethoven in Vienna. He wrote a consider- written for all three voices, and clearly intended as a work for the able amount of music, none of it ground break- concert hall, here is a "must have" from the late Romantic era for ing, but generally quite well-written. He wrote the those interested in the repertoire for 2 Violins and Viola. at least six trios for 2 violins and Cello which are quite useful, his Op.24 and Op.25, both sets Sergei Taneyev (1856-1915) is one of the greatest Russian com- of three which were published around 1875 but posers from the last half of the 19th and early were most likely composed around 1840’s . I 20th centuries and probably, from this group, single out two as especially worthy or revival. the one whose music is the least known in the Op.24 No.1 in C Major is in four movements and opens with a West. Among his many students were Gliere, stately Allegro moderato and is followed by a thrusting and mus- Rachmaninov, Gretchaninov, Scriabin and cular Scherzo. The third movement is a lovely and very romantic Medtner. His String Trio in D Major for 2 Andante. An exciting finale, Allegretto, concludes the work. Violins and Viola, Op.21. It is not particu- Op.25 No.1 in g minor is in three movements and opens with a larly difficult to play and certainly is a very lilting Allegro moderato and is followed by a charming Menuetto important addition to the scanty literature for and Trio. The finale begins with a somber, even ominous Poco this combination. In the first two movements, adagio introduction but the main section, Allegretto, is bright and the spirit of Mozart, albeit in an updated guise, is present. The playful rondo. opening movement, Allegro giocoso is bright and sunny through- out. The second movement, Menuetto, is a late Romantic version Hermann Spielter (1860-1925) a German composer who emi- of a baroque dance. The third movement, Andante, is a heart-felt grated to New York, where he spent the rest of his life. His Little romance. The finale, though fleet and jocular, is also lyrical and Serenade in G Major, Op.32 was composed in 1889. It is a dramatic. lovely, short work in one movement, posing no technical difficul- ties. As such, it is very suitable for amateurs but would make a Jan Baptist Vanhal (1739-1813 was an Austro-Czech composer fine encore in the concert hall. The trio, though intended for Vio- and cello and bass virtuoso. He tailored his lin, Viola and Cello can also be played by a trio consisting of 2 output to economic realities of the day and Violins and Cello as Spielter provided a second violin part composed, as did most of his contemporar- which could be played in lieu of the viola if desired. ies, a huge number of compositions includ- ing more than 90 string quartets not to men- Karl Stamitz (1746-1801), along with his father Johann, is con- tion dozens of other chamber works. Today sidered the founder of the Mannheim School he is remembered mostly for his double which influenced what ultimately became the bass concerto. His 15 Little or Short Trios , Vienna Classical. Style promoted by Haydn known as Petits Trios, were composed in and Mozart. His Sonata in F Major for 2 the mid 1770’s and are very comparable to Violins & Cello is a good early classical work the melodic and harmonic ideas found in the works of Haydn, in which each voice is given thematic materi- and in particular Mozart, from the same period. The trios present al. no technical difficulties whatsoever and were clearly intended for players of modest technical resources. Yet, they are polished and George Templeton Strong (1856-1948) was born in New York highly effective little works. So much so that they could easily be City, the son of a famous lawyer of the same name, who was a and probably were performed in concert at the time. t is unlikely friend of Abraham Lincoln. He studied in Germany with Salo- that Vanhal intended all of these works to be played at one go, mon Jadassohn, Richard Hoffmann and Joachim Raff. With the but rather that musicians could pick and choose and present three exception of a few years, he remained in Europe. His String Trio or four to make up a short trio. These pieces are not only ideal for

-26- students but can be played by professionals without any rehearsal at weddings or parties and they will sound every bit as good as more difficult works from the same era. They can be performed by either 2 Violins and Cello or 2 Violins and Viola .

Giovanni Battista Viotti (1752-1824) was an Italian violin virtuoso and composer. Generally regarded as the greatest violinist before Pagani- ni and the composer that served as Paganini’s model. He composed upwards of 30 trios for this combination, perhaps, mostly in sets of three. They are primarily vehicles for the two violins with the cello playing a very subordi- nate role. However the melodic writing is generally good. The Op.18 was recently published by Amadeus and the Op.19 was brought out by Hinrichtshofen. Each opus contains 3 trios and are for 2 Violins & Cello .

Paul de Wailly (1854-1933) was a French composer and organist. He wrote in the tradi- tion of his teacher Cesar Franck. His Six Piec- es for 2 Violins and Cello dates from 1919 and was the result of a commission he re- ceived from musician friends. The music was intended for the concert hall but it is not at all difficult to play. Five of the six pieces are sub- titled, only the first is without one. The pieces are Andante ma non troppo, Scherzino vivo, Idylle andantino, Alla Polacca marcato, Regrets larghetto and Ronde allegro. The slower movements are highly evocative and atmospheric and show de Wailly's compositional skills.

Reprints of older works as well as newly composed trios are al- ways coming onto the market. No guide therefore can ever claim to be exhaustive. However, I believe, that at least with regard to works which have appeared up until the mid 20th century, most, if not all, have been touched on here.

-27- Index Feodor Akimenko (1876-1945) ···················································· 6 Ignaz Lachner (1807-1895) ·························································26 Franz d'Alquen (1804-1877) ························································· 6 Peter Lindpainter (1791-1856) ····················································15 Alexander Alyabiev (1787-1851) ··············································· 24 Karol Lipinski (1790-1861) ·························································26 Volkmar Andreae (1879-1962)····················································· 6 Henri Marteau (1874-1934) ·························································15 John Antes (1740-1811) ····························································· 24 Bohuslav Martin ů (1890-1959) ···················································16 Johann Sebastian Bach (1685-1750)············································· 6 Jacques Féréol Mazas (1782-1849) ·············································26 Ludwig van Beethoven (1770-1827) ············································ 6 Georges Migot (1891-1976) ························································16 Hermann Berens (1826-1880) ······················································ 7 Darius Milhaud (1892-1974) ·······················································16 Wilhelm Berger (1861-1911) ······················································· 7 Ernest Moeran (1894-1950) ························································16 Lennox Berkeley (1903-1989) ······················································ 7 Leonardo Moja (1811-1888) ·······················································16 Antoine Bessems (1806-1868) ····················································· 7 Roderich von Mojsisovics (1877-1953) ······································16 Adolf Binder (1845-1901) ···························································· 8 Wolfgang Amadeus Mozart (1756-1791) ····································16 Adolphe Blanc (1828-1885) ························································· 8 Paul Müller-Zurich (1898-1993) ·················································16 Luigi Boccherini (1743-1805) ················································ 8, 24 Ernst Naumann (1832-1910) ·······················································16 Alexandre Boëly (1785-1858) ······················································ 8 Vaclav Nelhybel (1919-1996) ·····················································16 Alexander Borodin (1833-1885) ················································· 24 Franz Neruda (1843-1915) ··························································16 Frank Bridge (1879-1941) ·························································· 25 Alexander Nikolsky (1874-1943) ················································17 Hans Melchior Brugk (1909-1999) ·············································· 9 Juan Oliver y Astorga (1733-1830) ·············································26 Ole Bull (1810-1880) ··································································· 9 Ignatius de Orellana (1866-1931) ················································17 Arcangelo Corelli (1753-1713)··················································· 25 Hubert Parry (1848-1918) ···························································17 Henry Cowell (1897-1965) ··························································· 9 Richard von Perger (1854-1911) ·················································17 Jean Cras (1879-1932) ·································································· 9 Felix Petyrek (1892-1951) ··························································17 Pierre Crémont (1784-1846) ························································· 9 Johann Pezel (1630-1694) ···························································17 Leopold Dancla (1822-1895) ······················································ 25 Wenzel (Vaclav) Pichl (1741-1805) ············································27 Karl Ditters von Dittersdorf (1739-99) ········································· 9 Ignaz Pleyel (1756-1831 ······················································· 17, 27 Ernst von Dohnanyi (1877-1960) ················································· 9 Manuel Ponce (1882-1948) ·························································18 Johann Justus Friedrich Dotzauer (1783-1860) ·························· 10 Franz Alexander Possinger (1767-1827) ·····································18 Johannes Driessler (1921-1998) ················································· 10 Heinrich Aloys Präger (1783-1854) ············································18 Antonin Dvorak (1841-1904) ····················································· 25 Anton Reicha (1770-1836) ··························································18 Andreas Ehrhardt (1823-1884) ··················································· 25 Johann Friedrich Reichardt (1752-1814) ·····································18 Julius Eichberg (1824-1893) ······················································ 10 Carl Reinecke (1824-1910) ·························································18 Georges Enescu ·········································································· 10 Maurice Reuchsel (1880-1968) ···················································19 Joseph Eybler (1765-1846) ························································· 10 Ferdinand Ries (1784-1838) ························································19 Robert Fuchs (1847-1927) ···················································· 10, 25 Hubert Ries (1802-1886) ·····························································19 Ladislao Gabrielli (1851-19??) ··················································· 26 Sofie Rohnstock (1875-1964)······················································19 Hans Gal (1890-1987) ································································ 11 Alessandro Rolla (1757-1841) ····················································19 Moritz Ganz (1806-1868) ··························································· 11 Engelbert Röntgen (1829-1897) ··················································19 Joseph Gehot (1756-1820) ·························································· 11 Julius Röntgen (1855-1932) ························································20 Felice Giardini (1716-1796) ······················································· 11 Eugene Sauzay (1809-1901)························································20 Benjamin Godard (1849-1895) ··················································· 11 Hermann Schroeder (1904-1984) ················································20 Francois Gossec (1734-1829) ····················································· 26 Arnold Schoenberg (1874-1950) ·················································20 Carl C.P. Grädener (1812-1883) ················································· 11 Franz Schubert (1797-1828) ························································20 Joseph Haas (1879-1960) ··························································· 11 William Shield (1748-1829) ························································21 Peter Hänsel ················································································ 12 Otto Siegl (1896-1978) ································································21 Charles Haubiel (1892-1978) ····················································· 12 Leone Sinigaglia (1868-1944) ·····················································21 Franz Joseph Haydn (1732-1809) ········································· 12, 26 Nikolai Sokolov (1859-1922) ······················································21 Swan Hennessey (1866-1929) ···················································· 12 Willibald Sommer (1846-1935) ··················································21 Eduard Herrmann (1850-1937)··················································· 12 Hermann Spielter (1860-1925) ····················································21 Heinrich v Herzogenberg (1843-1900) ······································· 12 Karl Stamitz (1746-1801) ······················································ 27 Willy Hess (1906-1997) ····························································· 13 George Templeton Strong (1856-1948) ······································27 Kurt Hessenberg (1908-1994) ···················································· 13 Sergei Taneyev (1856-1915) ················································· 22, 27 Ferdinand Hiller (1811-1885) ····················································· 13 Jan Baptist Vanhal (1739-1813) ··················································27 Julius Hopfe (1817-1891) ··························································· 13 Giovanni Battista Viotti (1752-1824) ···································· 28 Johann Nepomuk Hummel (1778-1837) ···································· 13 Anton Webern (1883-1945) ························································22 Hyacinthe Jadin (1776-1800) ····················································· 14 Paul de Wailly (1854-1933) ························································28 Pál Kadosa (1903-1983) ····························································· 14 Leó Weiner (1885-1960) ·····························································22 Johann Friedrich Kelz (1786-1862) ············································ 14 Julius Weismann (1879-1950) ·····················································22 Jan Baptysta Kleczy ński (1756-1828) ········································ 14 Friedrich Wildgans (1913-1965) ·················································22 Zoltan Kodály (1882-1967) ·················································· 15, 26 Ermanno Wolf-Ferrari (1876-1948) ············································22 Oswald Körte (1852-1924) ························································· 15 Paul Wranitzky (1756-1808) ·······················································22 Franz Krommer (1759-1831) ······················································ 15 Eugene Ysaye (1858-1931) ·························································22 Carl Matthias Kudelski (1805-1877) ·········································· 15 Bernd Zimmermann (19 18-1970) ············································ 22 Richard Kursch (1879-1949) ······················································ 26 -28-