The Piano Trio in London From 1791 to 1800.

307 Pages·2017·7.46 MB·English

by  Howard Lee Irving

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LSU Historical Dissertations and Theses Graduate School
1980
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Howard Lee Irving
Louisiana State University and Agricultural & Mechanical College
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Irving, Howard Lee, "The Piano Trio in London From 1791 to 1800." (1980). LSU Historical Dissertations
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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
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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
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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
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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
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that this inaccuracy alters significantly the conclusions of
this study.
IV
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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
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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
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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
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