The Piano Trio in London From 1791 to 1800. PDF
Preview The Piano Trio in London From 1791 to 1800.
LLoouuiissiiaannaa SSttaattee UUnniivveerrssiittyy LLSSUU DDiiggiittaall CCoommmmoonnss LSU Historical Dissertations and Theses Graduate School 1980 TThhee PPiiaannoo TTrriioo iinn LLoonnddoonn FFrroomm 11779911 ttoo 11880000.. Howard Lee Irving Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses RReeccoommmmeennddeedd CCiittaattiioonn Irving, Howard Lee, "The Piano 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]. 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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 Irving, Howard Lee 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. MI 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 MUSICALE XAMPLES.............................. 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 THEM USIC . . . . 106 VI. THE MOVEMENTS IN SONATA FORM............. 143 VII. THE MOVEMENTS NOT IN SONATA FORM AND PROGRAMMATIC WORKS........................................ 208 VIII. SUMMARY,C ONCLUSIONS, 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 1-16. 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 30-33* 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 13. 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 15* 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.
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