Near the end of Haydn's second trip to London in 1795, he composed three piano trios. Piano Trio No. 39 In G Major was the 2nd one of this set which was dedicated to Rebecca Schroeter, a widow that lived in London. Haydn had met her on his first trip to London when she requested music lessons from him.
Despite Rebecca being twenty years younger, she soon fell in love with Haydn, as she had previously done with Johann Schroeter, a German composer and pianist that she married 16 years before. There were numerous letters back and forth between the two and Haydn had dinner with her at every opportunity. There was no possibility of marriage between the two as Haydn was already married (in what traditionally has been considered an unhappy one) and divorce was not allowed by the church.
Haydn wrote 45 piano trios in his life. His first trio was written in 1760, the beginning of the Classical era of music that saw the obsolescence of the basso continuo in favor of separate parts for specific instruments. Even with that, the piano dominates as the titles reflect with the piano being the first instrument mentioned: trios for piano, violin and cello. The violin accompanies and on occasion has the melody trusted to it while the cello mainly reinforces the bass line.
But this doesn't mean Haydn's piano trios are fluff. The early ones are simpler in texture and are more like serenades, but Haydn's imagination and skill is used to good effect, especially in the later piano trios. Piano Trio No. 39 is in 3 movements:
Rebecca Schroeter
I. Andante - The first movement is not in sonata form, but rather a set of variations on a simple theme that is stated by the piano and violin while the cello doubles the bass. The variations alternate between major and minor modes. The andante tempo is held throughout, but the shorter note values of the final variations give the illusion of a faster pace.
II. Poco adagio, cantabile -The gentle second movement is in E major. After the initial statement of the theme by the piano, the violin gets the spotlight in the middle section as the piano and cello accompany.
III. Rondo a l'Ongarese: Presto -After two gentler movements, the finale begins in a breakneck presto tempo. Haydn was the first well known composer to use music based on Hungarian tunes in his compositions, which became something of a fad a few decades later. These tunes aren't so much Hungarian but were derived from itinerant Gypsy musicians who were prevalent in Hungary. Haydn would have come in contact with these Gypsy musicians during his tenure as Music Director at Eszterháza Castle where Gypsy musicians often played. This is some of Haydn's most recognizable music and has been transcribed for other combinations as well as solo piano. The movement is a heavily accented, fierce Gypsy dance that shifts from major to minor that is over in a flash.
The beginnings of the string quartet, a standard ensemble in classical music that consists of two violins, viola, and cello, are difficult to determine. Some musicologists think the genre originated with the trio sonata of the Baroque era. Despite being called a trio sonata, many times more than three instruments played. The name 'trio' designates the number of voices and not necessarily the number of instruments. Indeed, J.S. Bach wrote trio sonatas for solo organ where the three different parts were distributed between the hands and feet.
But the basic trio sonata was usually written for two solo melodic instruments and bass continuo, three parts and instruments. In many cases, there would also be in the ensemble a bass instrument such as cello or bassoon that played the single notes of the continuo part, along with the continuo played on an instrument capable of harmony such as a keyboard or lute, and the two melodic solo instruments. Musical styles changed and the practice of basso continuo was considered old fashioned so composers wrote out their music for specific numbers of instruments, with the string quartet becoming a standard ensemble.
Early instances of works for 4 string instruments with no continuo were the sonate e quattro of the
Italian composer Allesandro Scarlatti, written in the early 18th century. From these early examples as well as others written by various composers, Joseph Haydn added his imagination and skill to form a standard that was popular with amateur musicians. Mozart was inspired by Haydn and added his genius to the form as well. It was the standards in artistry set by Haydn and Mozart in string quartet writing that inspired Beethoven to write his own string quartets.
Prince Lobkowitz
Beethoven's Opus 18 consisted of 6 string quartets that were commissioned by his patron Prince Joseph von Lobkowitz and were written between 1798 and 1800. Beethoven purposefully issued his first string quartets in a set of six to emulate Haydn's practice of doing the same. Beethoven was an ambitious young composer and may have wanted to invite comparison of his quartets with those of Haydn. Beethoven took his role as the new kid on the block very seriously, and he considered the premiere of his string quartets as a right of passage.
The String Quartet No. 5 In A Major of the set was intentionally modeled on a quartet by Mozart (K.464) that was in the same key and followed the same general outline. It is in 4 movements: I. Allegro -The first theme is a light tune that is contrasted by a second group of themes that delves into the minor and is punctuated by motives that follow one another in counterpoint. There is a summing up before the exposition is repeated. The development section begins with a variant of one of the motives of the second theme group until the first theme is then dealt with. Beethoven seamlessly leads into the recapitulation. A short coda ends the well constructed and tuneful first movement. II. Menuetto -A graceful minuet has a bit of individuality thrown in by the way of dark minor rumblings towards the end of the first statement. The trio throws the ear a curve by accenting the third beat in the measure. III. Andante cantabile -Mozart's example of a set of variations is also followed by Beethoven in the third movement, but the music is all Beethoven. The theme is a simple one in D major that rises and falls, with not much to recommend it as the basis for a set of variations:
The first variation begins with the solo cello and the other instruments enter in contrapuntal fashion.
The second variation has the first violin play an elaborate version of the theme while the other instruments offer a simple accompaniment.
The third variation has the second violin chatter a simple accompaniment while the other instruments comment on the theme.
The fourth variation is a contemplative variation on the theme that is high lighted by passages in the minor.
The fifth variation picks up the pace as the cello oompahs the bass line while the viola and second violin play a rhythmic variant of the theme. The first violin plays trills above them, and joins them a few times.
A coda continues to comment upon the theme in a slower pace until the music rises to a forte. After a brief pause, the first violin slowly plays the theme, the other have their final say, and the music ends pianissimo. IV. Allegro -The final movement begins with a theme that finds the instruments chasing each other until the second theme group begins in a more hushed tone. The development takes up the first theme and takes it afield in key and mood. Parts of the secondary theme group are interjected until the recapitulation begins. A coda deals with themes once more before the music ends very softly and rather suddenly.
Camille Saint-Saëns composed the Septet at the request of a chamber music society called La Trompette, and Saint-Saëns (perhaps tongue in cheek) included a part for trumpet in the work. The trumpet is not often thought of as an instrument to be used in chamber music, but Saint-Saëns added it along with two violins, viola, cello, double bass and piano. This rather odd combination of instruments is handled by Saint-Saëns with his characteristic fine craftsmanship as the bright tone of the trumpet does not dominate the work. Rather it is used for color and to punctuate the music.
Saint-Saëns was not only a great composer and performer, he was also a music historian and did much to revive the music of the past by editing and arranging modern editions of older composers, particularly French composers. The Septet was written in 1880 and takes the form of an 18th century suite of dances, music that he was very familiar with. It is in 4 movements:
I. Préambule - This was the first movement Saint-Saëns composed and it was originally meant to be a Christmas present to the music society and it was played at the January concert in 1880. Everyone was so pleased by the short work that Saint-Saëns promised to add more movements and complete the work. The finished work was first played in December of 1880 with Saint-Saëns at the keyboard. The movement begins with a flourish by the strings and piano, with the trumpet entering shortly. This changes to a section where a march-like theme is treated fugally. A calmer theme then is heard with a slightly restless accompaniment. The march returns and leads to the trills of the trumpet, the flourishes of the piano and the final chords of the movement.
II. Menuet -The trumpet takes the initial theme until the strings play a calmer second theme which the trumpet softly accentuates. The trio section is a masterful combining of the strings and trumpet over a piano accompaniment. The first section is repeated.
III. Intermède -After two bars of introduction for piano and trumpet, the piano begins an accompaniment that continues through most of the movement while a somber theme is traded off between instruments.
IV. Gavotte et Final -The piano takes the lead in this dance that shows Saint-Saëns kept his piano technique (which was formidable). The theme is played over pizzicato strings. The trumpet enters with motives that sound like bugle calls that the strings take up. The gavotte returns until the piano and strings pick up the pace with a short fugue using material from the first movement. All the instruments join in a rush to the end.
For an Italian composer in the Baroque era it was somewhat of a tradition to compose a set of trio sonatas for two violins and continuo as their first published music. Vivaldi carried on this trend with his Twelve Trio Sonatas, Opus 1 published in 1705. They are his earliest known compositions, and with them Vivaldi showed a more impassioned style than his predecessors. Initially he was taken to task for his style by his conservative contemporaries, but after the publication of his Opus 3 set of 12 violin concertos titled L’estro armonico his music became known throughout Europe and influenced many composers with J.S. Bach being the most notable.
The 12th sonata of Opus 1 is a set of variations on the ubiquitous 'La Follia' melody. The melody itself was derived from the original chord progression. Folia (Spanish for folly) first appeared in print sometime in the 17th century, but the original may be considerably older. Over three centuries many composers have used the tune and chord progression, from Jean-Baptiste Lully in the middle of the 17th century to Rachmaninoff in the 20th century have found inspiration in the minor key theme. The actual number of composers who have used it is ongoing. There is a website called La Folia A Musical Cathedral that is attempting to list uses and derivations of the theme with a list of composers that is quite long as well as a history and chronology.
Vivaldi composed the sonata for two violins and continuo. The recording that is linked below has a continuo section that includes cello, keyboard and theorbo. The theorbo is a long necked lute that made available more bass notes and was usually used as a continuo instrument.
Antonio Vivaldi spent many years as the master of violin at the Conservatorio dell'Ospedale della Pietà in Venice, an orphanage for displaced boys and girls. The boys were taught a trade while the girls received a musical education. While the boys had to leave the facility when they were 15, the best girl musicians stayed on to become members of the orchestra and choir. It was for this organization that he wrote most of his works, including over 500 concertos for various instruments, roughly half of them for solo violin.
While Vivaldi is most well known for these concertos, he also wrote in other forms, including sacred choral music. There was evidence of Vivaldi's choral music in other sources but no actual manuscripts were found until the 1920's in the National Library of Turin.
Gloria in excelsis Deo, shortened to Gloria, is an ancient text that dates to as early as the 2nd century, and is part of the Catholic Mass. It can be recited or sung to music, and there are hundreds of melodies and musical settings of the text. The Gloria RV 589 In D Major is thought to have been composed around 1715 and had its first hearing in over 200 years in 1939 in Siena, Italy. The work has become a favorite of choral groups since then.
Vivaldi's setting breaks the text into twelve separate movements, each with its own blending of instruments and voice to the text.. He wrote the work for strings, two trumpets, 3 soloists (2 sopranos and contralto) and choir. The work opens with fast-paced music punctuated with octave leaps in the violins, typical of Vivaldi's opening concerto movements, with the choir adding the richness of the text. The 3rd movement is a duet for 2 sopranos. In keeping with the Baroque era's fascination with counterpoint, Vivaldi shows his skill in writing a fugue for chorus in the 5th movement. Like many composers of the time, Vivaldi usually has either soloists or choir sing in a movement, but he breaks with tradition in the 8th movement where the solo contralto and choir join in response to each other. The 11th movement is a shortened version of the opening movement's material that leads to the 12th movement, a 4-voiced fugue for choir.
I. Gloria in excelsis Deo Chorus
Glory, glory, to God in the highest II. Et in terra pax Chorus
and on earth peace and goodwill to men. III. Laudamus te Sopranos
We praise you, We bless you.
We adore you, We glorify you. IV. Gratias agimus tibi Chorus
We give you thanks
V. Propter magnam gloriam Chorus
because of your great glory.
VI. Domine Deus Soprano
Lord God, King of heaven,
God Father Almighty.
VII. Domine, Fili unigenite Chorus
Lord, the only-begotten son,
Jesus Christ, VIII. Domine Deus, Agnus Dei Contralto and Chorus
Lord God, Lamb of God, Son of the Father.
Who takes away the sins of the world
Have mercy on us. IX. Qui tollis peccata mundi Chorus
Who takes away the sins of the world
Receive our supplication. X. Qui sedes ad dexteram Patris Contralto
Who sits at the right hand of the Father,
Have mercy on us. XI. Quoniam tu solus sanctus Chorus
For you alone are holy,
You alone are the Lord,
You alone are the highest
Jesus Christ. XII. Cum Sancto Spiritu Chorus
With the Holy Spirit,
In glory of God the Father,
Amen.
The lieder of Mozart, Haydn, and other composers of the 18th and early 19th centuries were generally strophic songs that were not considered serious compositions, but were meant for the domestic consumption of amateur singers and musicians. That doesn't mean that there weren't fine examples of early German lieder. Beethoven especially set the stage for the development of the German art song as practiced by Schubert. And an early composer such as Mozart was capable of writing fine music in any form he chose, including lieder.
Song of Separation (Das Lied der Trennung) K 519
The Song of Separation was written to a poem by Klamer Eberhard Karl Schmidt, a lawyer and minor poet. The song was written in 1787, right around the same time as the composition of the opera Don Giovanni. The music of this song is in C minor, and a work in a minor key is usually an indication of a more serious work by Mozart. The words deal with the familiar lost love subject, but Mozart gives an emotional and passionate setting to the words. Most of the song is written in the usual strophic form but there is a section in the song that is through-composed, after which the song returns to the strophic melody of the beginning.
God's angels weep
when lovers part.
O maiden,
how will I be able to live without you?
A stranger to all joys,
henceforth I shall live to suffer.
And you? And you?
Perhaps Louisa will forget me for ever!
Perhaps she will forget me for ever!
I cannot forget her;
everywhere I am plagued by her hands
Klamer Eberhard Karl Schmidt
pressing mine lovingly.
I tremble to take hold of her
and find myself abandoned.
And you? And you?
Perhaps Louisa will forget me for ever!
Perhaps she will forget me for ever!
I cannot forget her;
my heart, wounded by her,
seems to sigh and ask me:
"O friend, remember me!"
Oh I will remember you
until I am lowered into my grave.
And you? And you?
Perhaps Louisa will forget me for ever!
Perhaps she will forget me for ever!
Oblivion steals in hours
what love takes years to confer.
As a hand can turn,
so hearts may change.
The new attentions of others
have banished my image from her mind.
O God! Perhaps Louisa will forget me for ever!
Ah, think of our parting!
May this tearless silence,
may this rising and falling
of the heart oppress you
like a powerful spectre,
should you ever love someone else.
If you should ever forget me,
for get God and yourself.
Ah, think of our parting!
Let this memorial,
imprinted on my lips by our kisses,
judge both you and me!
With this reminder on my lips
I shall come to the witching hour
and present myself with a warning,
if Louisa should forget me,
if she should forget me.
To Chloë K 524
The style and feeling of this lied is more in keeping with a love song, but Mozart does put his own special feeling into the text with his music. The poem is by Johann Georg Jacobi, a poet whose works were looked down upon by the intellectuals of the time. He was appointed to the University of Freiburg as a professor of letters in 1784, and when he died in 1814 his funeral was attended by many dignataries, citizens and students.
When love shines out
from your bright blue eyes
Johann Georg Jacobi
I gaze into them
and my heart pounds and glows.
I hold you close to me
and kiss your warm red cheeks.
Sweet girl, I hold you
trembling in my arms.
Dear girl, dear girl,
I hold you close to me,
and not until the last moment
can death separate us.
A dark cloud casts a shadow
over my enchanted gaze
and I sit next to you,
exhausted but contented.
The text of the Catholic Requiem Mass began to be sung to music as far back as the 9th century when Gregorian chant melodies which were monophonic were used. The earliest surviving polyphonic Requiem is from the 15th century. Early Requiems used various texts until the Council of Trent in the 16th century set the texts that were to be used in the services of the Church. There is an amount of freedom of choice within the allowed texts to be used in the Requiem, so many of the later Requiems have differing combinations of text.
The dramatic nature of the text has attracted many composers, with some Requiems being more suited to the concert hall than a church. Verdi's Requiem is an example of a highly dramatic setting of the text and has been criticized for being more like an unstaged opera than a Requiem. In contrast, Saint-Saëns Requiem was intended for use in a church service. He kept the length of the work to a little over 30 minutes, a short time for a Romantic era Requiem.
He wrote the Requiem for Albert Libon, a friend and patron that had died a year earlier. Originally Libon included in his will 100,000 francs to Saint-Saëns with the intent to allow the composer to quit his position as church organist and devote his time to composition with the stipulation that Saint-Saëns compose a Requiem in his honor to be performed a year after his death. Before he died, Libon removed that stipulation. Saint-Saëns received the 100,000 francs upon Libon's death but felt compelled to write a Requiem to honor his friend anyway. He traveled to Switzerland in April of 1878 and while staying in a hotel he wrote the Requiem in a mere eight days. He wrote to his publisher, "Fear not,
this Requiem will be very short. I’m not just working hard, I’m
working flat out!"
Saint-Saëns wrote a Requiem that is not free of drama, but the drama is more subdued. The writing for orchestra and organ is lyrically powerful, and he has written music for the chorus and soloists that shows his mastery of writing for the voice. A recurring motive in the work is the chromatic 'sighing' that can especially be heard in the fourth movement. In later life Saint-Saëns turned from a total religious believer to an absolute non-believer, but he respected the tradition of the church and continued to write religious music for the rest of his life.
I. Kyrie
Eternal rest grant unto them, O Lord,
and let perpetual light shine upon them.
You shall have praise, O God, in Zion,
and a prayer shall go up for you in Jerusalem.
All flesh shall come before you.
Lord have mercy,
Christ have mercy,
Lord have mercy.
II. Dies irae
This day, this day of wrath
shall consume the world in ashes,
as foretold by David and the Sybil.
What fear there shall be,
when the judge shall come
to weigh everything severely.
The trumpet, casting its wondrous sound
across the graves of all lands,
summons all before the throne.
Death and nature shall be astounded
when mankind arises
to give account before the judge.
The written book shall be brought
in which all is recorded
whereby the world shall be judged.
When the judge takes his seat
all that is concealed shall appear,
nothing shall remain unavenged.
What shall I, a frail man, say then?
To which protector shall I appeal
when even the just man is scarcely safe?
III. Rex tremendae
King of awful majesty,
who freely saves those worthy of salvation,
save me, fount of mercy.
Remember, gentle Jesus,
that I am the reason for your earthly life,
do not cast me out on that day.
Seeking me, you sank down wearily,
you have saved me by enduring the cross:
such travail must not be in vain.
Righteous Judge of vengeance,
award the gift of forgiveness
before the day of reckoning.
I groan, like the sinner that ?I am,
guilt reddens my face:
spare the supplicant, O God.
You, who pardoned Mary
and heeded the thief,
have given me hope as well.
My prayers are unworthy,
but you, who are good, in pity,
do not let me burn in the eternal fire.
Give me a place among the sheep
and separate me from the goats,
let me stand at your right hand.
When the damned are cast away,
and consigned to the searing flames,
call me to be with the blessed.
IV. Oro supplex
Bowed down in supplication I beg you,
my heart as though ground to ashes,
help me in my final hour.
This day of tears
when from the ashes arises
guilty man to be judged:
have mercy upon him, O Lord,
Gentle Lord Jesus,
grant him rest.
Amen.
V. Hostias
We offer to you in praise, O Lord,
sacrifices and prayers:
accept them on behalf of those souls
whom we remember this day:
Lord, make them pass
from death to life,
as once you promised Abraham
and to his seed.
VI. Sanctus
Holy, holy, holy,
Lord God of hosts.
Heaven and earth are full of your glory.
Hosanna in the highest!
VII. Benedictus
Blessed is He who comes in the name of the Lord.
VIII. Agnus Dei
Lamb of God, who takes away the sins of the
world, grant them rest.
Lamb of God, who takes away the sins of the
world, grant them rest.
Lamb of God, who takes away the sins of the
world, grant them eternal rest.
Amen.
