GUIDE TO THE PIANO TRIO, • • ' ., ' - J. ..... .... ., -� �.., ., LITERATURE T he Silve rtrust G uide To t he Pia Tr no io Li terat ure ;..{.. ... BY RAYMOND SILVERTRUST EDITOR OR THE CHAMBER MUSIC JOURNAL -1- Table of Contents Introduction and Preface ··································································································· 3 Trios for Violin, Viola and Piano ······················································································ 6 Trios for 2 Violins and Piano ·························································································· 12 Trios for Violin, Cello and Piano ···················································································· 14 Index······························································································································· 82 -2- A Guide to the Piano Trio Literature By Raymond Silvertrust Introduction and Preface incredible number of excellent pieces, many masterpieces in their First, I would like to apologize to my readers. I have hastily typed own right, awaiting a hearing. Of course, not every rediscovered this entirely myself. And as I have no editor and because I am not work by a little known composer is a masterpiece, but one must a good proof reader, you will find many mistakes, largely because remember that not everything Mozart, or even Beethoven, wrote I have felt, now in my seventh decade, that I am racing against the is a masterpiece. The sad thing is that many marginal chamber clock so to speak. I have wanted to make sure that I would be works get performed simply because they are the work of com- able to complete this guide. When it is done, and if I have time, I posers who became famous by virtue of writing operas or sym- will improve it, add to it and, of course, try to eliminate all of the phonies, while a truly superb piece of chamber music by a com- errors I have left behind. poser, such as Joachim Raff or Friedrich Gernsheim, whose metier was chamber music, sits awaiting to be discovered. The main objective of this guide is to provide both professional and amateur chamber music players, as well as concert-goers, There have been many composers posterity has forgotten whose with a practical guide to the piano trio literature. But it is a spe- music has literally been brought back to life through the efforts cial type of guide which up until now has not existed in English; of devotees. For example, it seems incredible that Bach could a guide which can be used as an aid to helping explore the wider have been consigned to oblivion at the start of the nineteenth world of chamber music, most of which in my experience, is vir- century, yet this was the case, at least as far as public perfor- tually unknown to professional musicians as well as the listening mance went. It took a Mendelssohn to get Bach's music back into public. However, this guide is by no means a mere compilation the concert hall. In part, this was due to changing musical fashion and tastes. Schubert could not get his quartets or his symphonies or an encyclopaedia of works, nor is it an academic treatise published during his own life time and was virtually unknown for which analyzes how a composer actually wrote his music. anything other than his lieder until 40 years after his death. It is unfortunate that today's concert-goer is presented with the After the First World War, literally dozens of 19th century ro- same works over and over again. As far as chamber music con- mantic era composers, who were well known up until that time, certs go, most of them are by string quartets or piano trios. One were consigned to the dustbin of musical history in the wake of a can go to a piano trio concert in Vienna, Amsterdam, London, strong anti-romantic sentiment. Judging from what commentators Tokyo or Chicago and often find the same works on the program. of that period have written, no Romantic composer's reputation From the classical period, there will almost always be a piano trio was left entirely intact by this reaction. Mendelssohn and Schu- by Beethoven or Mozart or even Haydn, whose trios aren’t even mann were downgraded while lesser luminaries such as Raff, real piano trios but glorified sonatas for piano with violin accom- Hummel, Herzogenberg, Kiel and Rheinberger to name only a paniment. Of the Romantics, Brahms, Dvorak, Schubert and few, were relegated to an existence in encyclopaedias and musi- Mendelssohn are played with deadening regularity. From the so- cal dictionaries. After the Second World War, the big names called "modern" period, rarely is anything programed, but if one gradually bounced back but it was not until the 1960s, and almost does appear, it almost certainly will be Shostakovich. exclusively thanks to the record industry, that the public was able to hear the music of other composers from the Romantic period. There are several reasons for this sad state of affairs. In talking with professional players over many years, I have heard a num- It is not only the Romantics who, en masse, were consigned to ber of explanations put forward. One common scapegoat often the historical role of musical footnote. There are many fine com- cited is the demand of the Box Office. Common wisdom has it posers from the classical period whose reputations were all but that only the well-known or famous works will fill the concert snuffed out as the decades passed by the sheer brilliance of Mo- hall. Sometimes the fault lies with the sponsoring organization zart and Haydn. Few would claim that Paul and Anton which requests the old chestnuts. Often the artists themselves Wranitlzky, Karl von Dittersdorf or even Franz Krommer de- neither wish nor the have time to explore and prepare new works serve to sit in the front rank with Mozart and Haydn, yet they all which bear the risk of being poorly received. Whatever the rea- wrote several very charming works some unqualified master- sons though, the result is that the same works are performed over works, which would be welcomed by listeners and players alike. and over to the exclusion of any others. Of the 20th century, the situation is more problematical. It is a As wonderful as Schubert’s two marvellous piano trios are, I do constant that most new composers meet with resistance. It hap- not wish to hear one at every piano trio concert I attend. The pened to Schubert and to Beethoven in their time. In the 20th cen- same goes for all of the other tried and true greats. Nor do I wish tury, it has happened to Stravinsky and Shostakovich, to cite but to confine myself to playing only these trios at my regular trio two examples among hundreds. The fact is, it is hard for any new sessions if one is not being prepared by us for a performance. artist to get a hearing. Beyond this, however, came the belief at Familiarity does indeed breed contempt and musically, it is possi- the beginning of the 20th century, as first voiced by the compos- ble to get too much of a good thing. I can well recall, in my ers of the New Vienna School, that all which could be accom- youth, purchasing rock hits and playing them non-stop for a plished through the use of traditional melodic writing had been. month and then never wishing to hear them again. It may be un- A few modernists rejected this path and created some fine work, fair to compare a rock hit with a piano trio of Beethoven or but a very reactionary listening public for years consigned the Brahms, but I cannot agree with those who argue that one cannot music of even the most conservative of these composers to death. hear a masterpiece too many times. Although I have the greatest love and affection for many famous works, nowadays, I will go out of my way to avoid hearing and playing them frequently, -3- given that I have done so many times already. Doing this allows me to retain my enthusiasm for them. But there is another excellent reason to explore the wider cham- ber music literature. Those who take the time and trouble to make the trip will be well rewarded and will have the opportunity to make many exciting discoveries. This is because there are an Having said this, one must come to terms with atonal and so- braries both in America and Europe. Later, I used my briefly held called experimental music. Contemporary accounts claim that the position as chamber music critic for a classical music radio sta- Viennese found Beethoven's Symphony No.1 to be incomprehen- tion to further the cause of lesser known but fine chamber music sible cacophony. However, the story must be apocryphal. While by encouraging many of the groups passing through our city to they may not have liked it, it is inconceivable the audience found examine them. I have, on occasion, sent copies of some of these it to be merely sounds. The melodies are there. It was his in- works I unearthed to well-known ensembles currently perform- creased use of woodwinds that upset the critics. Of his Late Quar- ing. Additionally, I have served as the editor of and a frequent tets, the argument can certainly be made that few contemporaries contributor to The Chamber Music Journal for more than 25 were ready for such music, but it was tonal music, containing an years and have headed up The International Cobbett Association occasional melody which could be sung by the average listener, for Chamber Music Research for a similar period or time. along with much which due to its complexity could not. As for atonal music, the listening public has now been exposed to it for Over the years, it occurred to me that a guide such as this was more than a century and for those who wish to know the truth, the needed by players and possibly by listeners.