• Abstract and Figures
• Public Full-text

Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1980 The iP ano Trio in London From 1791 to 1800. Howard Lee Irving Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Irving, Howard Lee, "The iP ano Trio in London From 1791 to 1800." (1980). LSU Historical Dissertations and Theses. 3563. https://digitalcommons.lsu.edu/gradschool_disstheses/3563 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy o f a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “ target” f^i pages apparently lacking from the document photographed is “Missûig ?age(s/’. I f it was possible to obtain the missing page(s) or section, they are spliced into the fdm along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the Him is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during expos’; . , v. duplicate copy. Unless we meant to delete copyrigiited materials that should not have been fîlmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any iilustrau-ns that cannot be reproduced satisfactorily by xerography, photograi’h , riias can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. Universi^ Micrdfilm s Internaticxicil 300 N. ZEEB ROAD, ANN ARBOR, Ml 48105 18 BEDFORD ROW, LONDON WCIR 4EJ, ENGLAND Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 8110417 I r v in g , H o w a r d L ee THE PIANO TRIO IN LONDON FROM 1791 to 1800 The Louisiana State University and Agricultural and Mechanical Col Ph.D. 1980 University Microfilms Intern etionei 300N.Zeeb Road, Ann Arbor. M I 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE PIANO TRIO IN LONDON FROM 1791 TO 1800 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Howard Lee Irving P.M., Centenary College, 1973 M.M., Louisiana State University, I976 December I98O Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PREFACE The accompanied sonata, that is, the sonata for key­ board with accompaniment for other instruments, is a genre that has received relatively little attention from scholars. Reasons for this are numerous, but include most prominently the following: 1) much of the music is of poor quality, even in comparison with composers' works in other media, 2) most performers are attracted to ensemble sonatas in which the instruments participate on a more nearly equal basis, and 3) the repertoire of accompanied sonatas is so immense that detailed studies are impractical without some means of limiting their scope. One of the most important types of accompanied sonata is that which became the piano trio of the late eighteenth century. By far the best known examples of this type of accompanied sonata are the works of Joseph Haydn and, as many have indicated, the best of Haydn's trios are those which were written for publication in London during his two trips there in the 1790's. Unfortunately, these late trios of Haydn are not often performed. One reason for this is that Haydn's treatment of the violin and, especially, the cello 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. parts is in the manner of the accompanied sonata, rather than that of the other Viennese masters, Mozart and Beethoven, in which the string parts participate on a more nearly equal basis with the piano. The greatness of Haydn's late piano trios, to which many scholars attest, is revealed when they are compared, not with a small number of works by Mozart and Beethoven, but with a large sample of works of the same format, pub­ lished at the same time and in the same place, for the same audience, that Haydn's were. The following, then, is a study of accompanied sonatas scored for piano (or harp­ sichord), violin, and cello, and published in London for the first time between Haydn's first visit there, in 1791, and the end of the eighteenth century. All of the composers who published sonatas of the type described above, which are extant, are included. Only works entitled "Sonata" or "Trio" are included, a necessary limitation in view of the many marches, reels, etc. that were published in London for that instrumentation during the 1790*s. A total of 173 works by twenty different composers have been identified according to the description set forth above. Because of the difficulties involved in dating these works, it has frequently been necessary to rely on the admit­ tedly questionable dates supplied in the British Union Catalogue of Early Music. Although this practice includes the possibility of a degree of inaccuracy, it is unlikely iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. that this inaccuracy alters significantly the conclusions of this study. IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. table of contents LIST OF TABLES.................................... vi LIST OF MUSICAL EXAMPLES.............................. vii ABSTRACT.......................................... xi Chapter I. MUSIC IN LONDON AT THE END OF THE EIGHTEENTH CENTURY...................................... 1 II. THE ACCOMPANIED SONATA IN THE LATE EIGHTEENTH CENTURY.................................... 24 III. THE PROLIFIC COMPOSERS.................. 45 IV. SOME LESSER FIGURES...................... ?6 V. SOME GENERAL CHARACTERISTICS OF THEMUSIC .... 106 VI. THE MOVEMENTS IN SONATA F O R M ............. 143 VII. THE MOVEMENTS NOT IN SONATA FORM AND PROGRAMMATIC WORKS ........................................ 208 VIII. SUMMARY,CONCLUSIONS, AND RECOMMENDATIONS .... 264 SELECTED BIBLIOGRAPHY ............................. 268 APPENDIX .......................................276 VITA ................................................ 290 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF TABLES Table Page 1. Works entitled "Sonata" or "Trio" scored for piano, violin, and cello and published in London for the first time between 1791 and 1800 . VI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OP MUSICAL EXAMPLES Example Page 1. Gyrowetz, Sonata in D major op.14/III, third movement, piano part, measures 68-75- 11? 2. Beethoven, Symphony No.5 in C minor, first movement, measures 1-21. 122 3. Haydn, Piano Trio in G major Hob,XV:25, third movement, measures 1-8 . 123 4. Haydn, Piano Trio in 0 major Hob..XV: 27, first movement, measures 1-14. 5. Kozeluch, Sonata in B-flat major op.48/lII, first movement, piano part, measures 1-1 6. 127 6. Beethoven, Sonata in C major op.2 no.3, first movement, measures 1-13 * 128 7. Kozeluch, Sonata in B-flat major op.48/111, second movement, piano part, measures 1-16 . 129 8. Kozeluch, Sonata in D major op.43/111, first movement, piano part, measures 1-8. I30 9. Kozeluch, Sonata in D major op.43/111, first movement, piano part, measures 33-40. I3I 10. Kozeluch, Sonata in G major op.43/11, first movement, piano part, measures 30-3 3 * 132 11. Ferrari, Trio in F major op.ll/l, third move­ ment, piano and violin parts, measures 54-75* 132 12. Tomich, Sonata in C major op.l/lll, first movement, piano part, measures 1-16 . I38 1 3 . Tomich, Sonata in 0 major op.l/lll, first movement, piano and violin parts, measures 98-104. 139 14. Sterkel, Sonata in B-flat major op.30/lll, first movement, measures 73-80. l4l 1 5 * Sterkel, Sonata in B-flat major op.30/lll, first movement, measures 33-40. 142 vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example Page 16. Haydn, Piano Trio in E-flat major Hob.XV;29, first movement, measures 1-3. 150 17. Haydn, Piano Trio in A major Hob.XV;18, first movement, measures 1-3. 151 18. Haydn, Piano Trio in C major Hob.XV;21, first movement, measures I-I3 . 155 19. Mazzinghi, Sonata in D major op.39/1, first movement, piano part, measures 1-8. 157 20. Clementi, Sonata in C major op.35/l, first movement, piano part, measures 1-11. 158 21. Gyrowetz, Sonata in B-flat major op.9/lI, first movement, piano part, measures 1-12.

Load more

  307

Copy Link