The Piano Trio in London From 1791 to 1800.

Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1980 The Piano 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 Piano Trio in London From 1791 to 1800." 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can be purchased at additional cost and tipped into your xerographic copy Requests can be made to our Dissertations Customer Services Department Some pages in any document may have indistinct print In all cases we have filmed the best available copy Universi^ Micrdfilms Internaticxicil 00 N Z E E B R O A D , A N N A R B O R , M l 18 B E D F O R D ROW, L O N D O N W C I R 4EJ, E N G L A N D Reproduced with permission of the copyright owner Further reproduction prohibited without permission 8110417 I r v in g , H o w ar d L ee THE PIANO TRIO IN LONDON FROM 1791 to 1800 The Louisiana State University and Agricultural and Mechanical Col University Microfilms Intern etionei Ph.D 1980 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 I98 O 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 MUSICALEXAMPLES vii ABSTRACT xi Chapter I MUSIC IN LONDON AT THE END OF THE EIGHTEENTH CENTURY II THE ACCOMPANIED SONATA IN THE LATE EIGHTEENTH CENTURY III THE PROLIFIC COMPOSERS 45 IV SOME LESSER FIGURES V SOME GENERAL CHARACTERISTICS OFTHEMUSIC VI THE MOVEMENTS IN SONATA F O R M 24 ?6 106 143 VII THE MOVEMENTS NOT IN SONATA FORM ANDPROGRAMMATIC WORKS 208 VIII SUMMARY,CONCLUSIONS, AND RECOMMENDATIONS SELECTED BIBLIOGRAPHY APPENDIX 264 268 276 V I T A 290 Reproduced with permission of the copyright owner Further reproduction prohibited without permission LIST OF TABLES Table Page 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 Gyrowetz, Sonata in D major op.14/III, third movement, piano part, measures 68-752 Page 11? Beethoven, Symphony No.5 in C minor, first movement, measures 1-21 122 Haydn, Piano Trio in G major Hob,XV:25, third movement, measures -8 123 Haydn, Piano Trio in major Hob XV: 27, first movement, measures 1-14 Kozeluch, Sonata in B-flat major op.48/lII, first movement, piano part, measures -1 127 Beethoven, Sonata in C major op.2 no.3, first movement, measures -1 * 128 Kozeluch, Sonata in B-flat major op.48/111, second movement, piano part, measures 1-16 129 Kozeluch, Sonata in D major op.43/111, first movement, piano part, measures 1-8 I30 Kozeluch, Sonata in D major op.43/111, first movement, piano part, measures 33-40 10 11 12 13 14 I3 I Kozeluch, Sonata in G major op.43/11, first movement, piano part, measures 30 -3 * 132 Ferrari, Trio in F major op.ll/l, third move­ ment, piano and violin parts, measures 54-75* 132 Tomich, Sonata inC major op.l/lll, first movement, piano part, measures 1-16 I38 Tomich, Sonata in0 major op.l/lll, first movement, piano and violin parts, measures 98-104 139 Sterkel, Sonata in B-flat major op.30/lll, first movement, measures 73-80 l4l * 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 CD ■D O Û C g Q ■D CD C /) C /) ■8D Clementi op.29 A Allegro 4/4 C Sonata Allegro Vivace 3/4 C Rondo /2 Allegro Moderato 6/8 G Sonata Allegro Vivace 2/4 G Rondo /3 Allegro Molto 3/4 D Sonata Molto Vivace 2/4 D Sonata Allegro Molto Spirito 3/4 C Sonata Un Poco Allegretto ma non Grazia 2/4 F Ternary /2 Allegro 4/4 G Sonata Allegro 3/4 G Rondo /3 Moderato 2/4-Allegro Molto 3/4 D Sonata " CD CD ■D O Q C a O "O O Clementi op.35 A CD Q ■D Vivace 3/8 C Rondo CD (/) (/) ro -o -c CD ■D O Q C g Q ■D CD C /) C /) Cramer op.9 /I T3 /2 CD /3 3 " CD CD ■D O Q (D Allegro Assai 2/4 Allegro Spiritoso 4/4 G Sonata Andante Pastorale 6/8 Allegretto 2/4 G Rondo Allegro Assai 4/4 G Sonata Adagio 2/4 D Ternary F Ternary C Rondo Allegretto 6/8 C Rondo /l Largo Maestoso 4/4Larghetto 6/8 - Allegro Moderato 2/4 Allegro non Troppo 4/4 G G minor C Sonata Ternary Rondo /2 Allegro Moderato 4/4 A Sonata Andante 6/8 A minor Ternary /3 Allegro Vivace 6/8 F Rondo Larghetto Cantabile2/4 Allegretto 2/4 B-flat F Ternary Rondo (D Q T3 Andante 3/8 G Sonata Dussek op 20 C a o T3 O Allegro Spiritoso 4/4 C Sonata Allegro Moderato 2/4 A Rondo C /) C /) ro 00 CD ■D O Q C g Q ■D CD (fi (fi Louis von Esch op.12 /l ■8D Allegro Moderato 4/4 B-flat Sonata (O ' 3 " Andante Espressione 4/4 E-flat Ternary Vivace 2/4 B-flat Rondo /2 Andante Espressivo4/4 Allegro Vivace 4/4 A A Ternary Sonata /3 Allegro Agitato 4/4 D Sonata Andante 4/4 A S onata /l Allegro Vivace 4/4 F Sonata Cantabile e Sostenuto3/4Presto 2/4 D F Ternary Rondo /2 Allegro / B-flat Sonata Larghetto 2/4 E-flat Sonata /3 Largo 2/4Allegro Molto 3/4 A Andantino Grazioso 2/4 Sonata Variations CD Allegro Spirito2/4 D Rondo CD ■D O Q C a o T3 O Ferrari op.il (D Q T3 (D Prestissimo 2/4 B-flat Sonata (/) (/) N) -o VO 7D ■D O Q CD C g Q ■D CD C /) C /) Forkel op.6 ■8D A Allegro di Molto 4/4 C Sonata A Allegro / F Sonata /3 " CD CD ■D O Q C g O "O O Sonata A Allegro Moderato / A S onata A Q A CD Andantino Z A B-flat Rondo Allegro 2/4 G Rondo Andante 2/4 B-flat Ternary Presto 2/4 F Rondo Adagio 3/4 A-flat Through Composed Allegretto 2/4 E-flat Rondo Adagio 2/4 D Rondo Moderato 6/8 A Rondo Larghetto 6/8 E-flat Sonata Presto ma non Troppo B-flat Rondo Adagio 2/4 A-flat Binary Allegretto 2/4 E-flat Rondo Gyrowetz op.9 CD ■D Allegro 4/4 E-flat Allegro Spirito 4/4 B-flat Sonata E-flat Sonata C /) C /) ro o CD CD ■D O Q C g Q ■D CD C /) C /) Gyrowetz op.14 A Allegro Spirlto4/4 Andantino 6/8 G F Binary Sonata Allegro 2/4 G Rondo A Allegro Moderato 6/8 F Sonata Allegro 2/4 F Rondo /3 Allegro Spirito4/4 Larghetto 2/4 D D Ternary Sonata ■8D " CD CD ■D O Ternary-Variations Allegro 4/4 G Sonata Hob.XV:l8 Allegro Moderato 4/4 A Sonata Andante 6/8A minor Ternary Hob.XV:19 Andante 2/4Presto 6/8 G minor-G major Variations Adagio ma non Troppo 3/4 E-flat Sonata Haydn Hob.XV;32 C CD Q Andante 6/8 G Q a O "O O Andante Moto 2/4 C Ternary Allegro 6/8 D Rondo -Allegro 3/4 A Rondo Presto 6/8 G minor Sonata ■D CD C /) C /) % CD ■D O Q C g Q ■D CD C /) C /) ■8D (cont'd ) Hob.XV:20 Andante Cantabile2/4 G Variations Allegro 2/4 B-flat Rondo Adagio PastoraleVivace Assai 6/8 C Sonata Andante Molto 4/4 Presto 2/4 G Ternary C Sonata Hob.XVs 22 Allegro Moderato 2/4 E-flat Sonata Poco Adagio 4/4 G Sonata Allegro 3/4 E-flat Sonata Hob.XV:23 Andante Molto 2/4 Vivace 3/4 D minor Variations Adagio ma non Troppo 3/4 B-flat Sonata Allegro 4/4 Andante 6/8 D Sonata D minor Binary Allegro ma Dolce 3/^ D Rondo Andante 2/4 G Variations Poco Adagio 3/4 E Ternary Presto 2/4 G Rondo CD " CD CD ■D O Q C a O "O O Hob.XV:24 CD Q ■D CD Allegro 4/4 B-flat Sonata Hob.XV:21 Hob.XV:25 D Sonata C /) C /) ro 00 ro CD ■D O Q C g Q ■D CD C /) W o" "8O CD (cont'd) Hob.XV:26 Allegro 4/4 Adagio Cantabile 3/4 F-Sharp minor Sonata F-sharp minor Sonata Tempo di Menuetto 3/4 F-sharp minor Ternary Hob.XV;30 Allegro Moderato 4/4 Andante Con Moto 3/8 Presto 3/4 E-flat C E-flat Rondo Binary Sonata Hob.XV;27 Allegro 4/4 C Sonata Hob.XV:28 Allegro Moderato 4/4 Allegretto 3/4 E minor E major Binary Sonata Hob.XV;29 Poco Allegretto 2/4 " CD CD ■D O Q Andante 6/8 A Ternary Presto 2/4 C Sonata C a O ■D O Allegro 3/4 E major Rondo CD Q ■D E-flat Variations-Rondo Andante ed - Presto Assai 3/4 Innocentemente 6/8 E-flat B Rondo (?) Binary CD C/) C /) ro CD U) CD ■D O Q C g Q ■D CD C /) C /) Hoberechts op.5 Allegro ^ ■8D Humrnel op CD 3 " CD Kozeluch op.34 /l CD ■D O Lentemente 6/8 Allegro Vivace 2/4 D Sonata A Binary D Rondo Allegro B-flat Sonata Andante 2/4 E-flat Variations Allegro 2/4 B-flat Rondo Allegro 4/4 Andante 6/8 D G Rondo Sonata Allegro 2/4 G Rondo C /2 a O "O O Allegro 4/4 Andantino 2/4 B-flat B-flat Sonata Variations /3 Allegro 4/4 Poco Adagio 2/4Allegro 6/8 C F C Ternary Rondo Sonata Q CD Q Presto Legeremente / D Rondo Kozeluch op.4 71 Allegro 3/4 Allegretto 2/4 F F Rondo Sonata /2 Allegro 4/4 Andante 2/4 C G Rondo Sonata ■D CD C /) C /) Allegretto 6/8 G Rondo % C D T3 S Q C g Q T3 C D "8O C5- Kozeluch op 43 /3 Allegro 4/4 D S onata Allegretto 6/8 D Rondo A Allegretto 6/8 E-flat Sonata Poco Adagio 2/4 E-flat Sonata Allegretto 2/4 C minor Rondo /2 Allegro Moderato 4/4Poco Adagio 3/4 A D Sonata Sonata Allegretto 2/4 A Rondo /3 Allegro 4/4 B-flat Sonata Kozeluch op.48 C D D "CO S Q C O T3 S Mazzinghi op 39 A Allegro Spiritoso4/Wolto Adagio e Cantabile 3/4 D G Sonata Ternary Allegro Spiritoso di Molto 2/4 D Rondo A Allegro Vivace 4/4 Andantino 2/4 C F Sonata Variations Presto Assai /8 C Rondo C D Q O C "CO D Allegretto 6/8 B-flat Rondo t\j 00 CD ■D O Q C g Q ■D CD C /) C /) Pichl op.26 /I ■8D Largo Maestoso ^ Larghetto 2/4 Allegro Moderato 4/4 Allegretto 6/8 C G Sonata Sonata C Rondo /2 Allegro Moderato 4/4 Larghetto / F B-flat Sonata Ternary Allegretto 3/6 F Rondo /3 Allegro 4/4 B—flat Sonata Larghetto 3/4 E-flat Sonata Allegretto 2/4 B-flat Rondo Allegro / Con Moto 3/4 B-flat S onata Andante Espressivo 3/4 E-flat Ternary Ben.466 Allegro 4/4 A Sonata Allegretto 2/4A Variations Ben.46? Allegro Vivace 4/4 Adagio————————————Allegro Molto 6/8 C Espressivo 3/4 C minor Ternary " CD CD ■D O Q C Pleyel op.31 Ben.465 a O "O B-flat Rondo o CD Q ■D CD Sonata -Presto 3/8 A Rondo Rondo C/) C/) I \3 CO o\ CD ■D O Q C g Q ■D CD C /) (/) Pleyel Ben.443 C Sonata Chanson Ecossoise Con Variazione 4/4 C Variations Ben.444 Allegro 4/4 F Sonata Adagio Non Troppo B-flat Ternary Allegro 3/4 F Rondo Ben.445 Allegro 3/4 D Sonata Adagio Espressivo 3/4 F Ternary Allegro 4/4 D Rondo Ben.446 a O "O O Allegro 4/4 G Sonata Allegro 2/4 G Rond Ben.44? Allegro 4/4 B-flat Sonata Adagio Espressivo 4/4 G minor Ternary CD Q Ben 448 Moderato 6/8 A Sonata Allegretto Scherzando / A minor Rondo ■8D " CD CD ■D O Q C Allegro Vivace 4/4 Allegro 6/8 B-flat Rondo ■D CD (/) (/) r o 00 -o CD ■D O Q C g Q ■D CD C /) C /) Radiger op.5 Allegro Vivace 4/4 C Sonata Allegro Assai 3/8 C Rondo Allegro Maestoso 4/4— — Grazioso 2/4 B-flat F Binary Sonata ci' Allegro Molto 2/4 F Rondo Seybold op.10 3 " CD CD ■D O Q C a O "O O CD Q ■D CD Allegro Maestoso 4/4 F Sonata Andante 9/8 Allegretto 4/4 F F Binary Rondo Allegro Moderato 4/4 C Sonata Adagio 4/4 G Ternary Allegro 6/8 C Rondo Allegro Maestoso Expressivo 3/4 F Sonata Adagio 2/4 C Rounded Binary Arietta Con Variatione 6/8 F Variations Allegro 4/4 Adagio Con Espressione / G Ternary D Rondo Sterkel op.30 D Sonata c/) c/) K ) 00 00 CD ■D O Q C g Q ■CD D C/) (/) Steikel op,30 /2 Allegro 4/4 C S onata Larghetto 4/4 - -Vivace 6/8 C P Rondo Ternary /3 Allegro 4/4 B-flat S onata Larghetto Con Espressione / E-flat Rondo E-flat Rondo A D ■CD O Q Allegro 4/4 B-flat Sonata Adagio Cantabile 2/4 E-flat Ternary Allegro 2/4 B-flat Rondo /2 a O "O O Allegro 6/8 D Rondo Poco Adagio 2/4 G Ternary Allegretto D Rondo /3 Allegro 4/4 C Sonata Poco Adagio 6/8 - -Allegretto ' C G Rondo Sonata "8O " C D C C D Q Tomich op,l Presto ■CD D ( (/ /) ) to CO VO 290 VITA Howard Irving was born June 21, 1951» in Alexandria, Louisiana He lived there until his graduation from high school In 9 , Mr Irving entered McNeese State University in Lake Charles, Louisiana, and majored in piano performance Mr Irving transferred to Centenary College in Shreveport, Louisiana in 1971- At Centenary College he was active in the Centenary College band and the Shreveport Symphony orchestra as a tuba player- In 1973 Mr Irving graduated with the degree of Bachelor of Music Also in 1973 he married the former Carolyn Sue Elfgen of Scottsdale, Arizona In the fall of 1973 Mr Irving entered Louisiana State University in Baton Rouge, Louisiana, to pursue the degree of Master of Music in piano After receiving his masters degree there in 1976, Mr Irving continued his graduate studies at LSU in pursuit of the Ph.D degree in music In , Mr Irving accepted a position as Instructor of Music at Bethel College in McKenzie, Tennessee His duties at Bethel include teaching piano as well as music history and theory courses Mr Irving continues in his position at Bethel and resides in McKenzie Reproduced with permission of the copyright owner Further reproduction prohibited without permission EXAMINATION AND THESIS REPORT Candidate: H oward Lee Irving Major Field: T itle of Thesis: Music HistOry T h e P i a n o T r i o in L o n d o n F r o m 1791 to 800 Approved: Major Professor and Cjfairman ^ Dean of the Graduate Ûlchool EXAMINING COMMITTEE: Date of Examination: D e c e m b e r 1980 Reproduced with permission of the copyright owner Further reproduction prohibited without permission ... such as Gyrowetz, to seek refuge in London Another reason for the influx of foreigners into England was the active music publishing industry in London During the period of the present study at... that the weak tone of the early piano made the fortifying of its tone through the doubling of melodic lines by the stringed instruments necessary Newman has noted frequent references to the inadequacy... pianists are An insight into the quality of amateur string players in London can be gained from a story told by Haydn to his early bio­ grapher Albert Christoph Dies concerning the now lost "Jacob's