In the Classical period, and well into the 19th century, piano trios were almost“fashion accessories”, At the end of his life, Haydn could look back proudly at the 39 piano trios which he now left to posterity.
Volume I contains the eleven early trios; some of them date from as far back as the 1760s, yet still form a unified group. Since the cello part, always loosely designated as “basso” in the source, mostly tallies with the bass part, the pieces can also be performed by piano and violin alone, and are thus a valuable enrichment of the violin and piano duet genre.
目录/详情
- Trio g minor Hob. XV:1
- Trio F major Hob. XV:2
- Trio E major Hob. XV:34
- Trio A major Hob. XV:35
- Trio E flat major Hob. XV:36
- Trio F major Hob. XV:37
前言
All the early piano trios of Joseph Haydn – so far as they are known – are contained in this volume. Stylistically they make a self-contained group, of which some could have come into being prior to 1760 and some during the 1760’s. The manner in which they are grouped is the result of the thorough researches of Georg Feder (HaydnStudien, Vol. II, G. Henle Verlag). There … 更多
关于作曲家
Joseph Haydn
His immense oeuvre documents the profound changes in music history during the second half of the eighteenth century, leading to the emancipation of instrumental music. His most important genres are the symphony and the string quartet, where he cultivated the technique of motivic-thematic development; he made significant contributions to the instrumental concerto and to piano music; during the last years of his life, he composed his great oratorios. Opera and art song take on a rather subordinate significance.
| 1732 | Born in Rohrau, probably on March 31 (baptized on April 1). |
| 1737 or 1738 | His uncle Johann Mathias Franck takes him in, in order to oversee his musical education. |
| around 1739/40 | For about 8–10 years, chorister at St. Stephen’s Cathedral in Vienna. |
| from 1750 | He makes his living as a musician, teacher, and composer. |
| 1757–61 | Employed as music director by Count Morzin. He makes a name for himself as a composer: fifteen symphonies, piano sonatas, trios, divertimenti, string trios, wind partitas, string quartets Opp. 1 and 2. |
| 1761 | “Times of Day” Symphonies Nos. 6–8: “Le matin,” “Le midi,” “Le soir.” |
| from 1761 | Employed by Prince Paul Anton at the Esterházy court, by Prince Nikolaus from 1762, by Paul Anton II from 1790–96, then by Nikolaus II, first as vice-Kapellmeister, then as Kapellmeister after 1766. |
| 1764–65 | Symphonies No. 22 in E-flat major, “Philosopher”; No. 30 in C major, “Alleluia”; and No. 31 in D major, “Hornsignal.” |
| 1766 | Prince Nikolaus Esterházy demands operas for the theater in his newly erected castle. Haydn’s operas are written primarily for special occasions, e.g., “La Canterina,” for the Kaiser’s visit in 1766. He composes many baryton pieces for Prince Nikolaus. |
| 1766–74 | Eighteen symphonies, including “La passione” in F minor (1768), “Lamentatione” in D minor (1770), “The Schoolmaster” in E-flat major (1774), “Trauer” (“Mourning”) in E minor (1772): expanded expressive range (six are in minor keys), more counterpoint. |
| 1768 | Premiere of “Lo speziale” on Goldoni’s libretto for the inauguration of the new opera house at Eszterháza. |
| 1770 | Premiere of the dramma giocoso “Le pescatrici.” After a ten-year hiatus, he writes the pioneering string quartets “6 Divertimenti” Op. 9, and Op. 17 (1771). |
| 1771 | Piano Sonata No. 20 in C minor. |
| 1772 | “Farewell Symphony” No. 45 in F-sharp minor, “6 Divertimenti (‘Sun Quartets’),” Op. 20, which are characterized by contrapuntal techniques (some have fugues as final movements). |
| 1775 | Premiere of the opera “L’incontro improvviso.” |
| around 1775–78 | “Missa brevis sancti Joannis de Deo (‘Little Organ Mass’).” |
| 1776 | Prince Nikolaus calls for regular opera performances at Eszterháza. Haydn adjusts works imported from Vienna or Italy to the local taste. He moves from Eisenstadt to Castle Eszterháza, where he resides for ten months a year. Little instrumental music after 1776, often with integrated opera music. |
| 1777 | Premiere of “Il mondo della luna,” after Goldoni. |
| 1779 | Contact with the publisher Artaria, who distributes his compositions over the following decade. |
| 1781 | Premiere of the opera “La fedeltà premiata.” Missa Cellensis, “Mariazellermesse”; String Quartets, Op. 33 (‘Russian Quartets’), which are written “in a quite new and special way” (Haydn) after a rather long break in composing quartets and regarded as paradigmatic for Haydn’s “wit” in the sense of his playful engagement with the instruments. |
| 1782 | Premiere of “Orlando paladino.” He begins selling his compositions abroad as well; he has the Symphonies Nos. 76–78 and 79–81 (1783–84) printed in Paris. |
| 1783 | Cello Concerto in D major (Hob. VIIb: 2). |
| 1784 | Premiere of “Armida”; from this point he composes no more operas for the court. Piano Concerto in D major. |
| 1785–86 | Commission by Count d’Ogny to write six symphonies (the Paris Symphonies, Nos. 82–87) to be performed at the Concert de la Loge Olympique in Paris. |
| 1787–90 | String Quartets, Opp. 50, 54, and 55. After Nikolaus’ death, Prince Paul Anton II dismisses the entire court chapel; Haydn retains his office in name only. |
| 1791 | Composition of the opera “L’anima del filosofo ossia Orfeo ed Eurudice,” which never reaches the stage (posthumous performance in Florence in 1951). |
| 1791–92 | Stay in London, engaged by the concert manager Johann Peter Salomon. “6 Quartetti,” Op. 64; the first volume of his transcriptions of Scottish folk songs appears in 1792. Composition of the first six London Symphonies Nos. 93–98, including the Surprise Symphony No. 94. |
| 1792 | Sinfonia Concertante for violin, cello, oboe, bassoon, and orchestra in B-flat major. |
| 1794–95 | Second stay in London. Six London Symphonies Nos. 99–104, No. 104 has monothematic opening movement, “Military” Symphony No. 100 integrates Janissary music; sonata-rondo as a new form of final movement, e.g., in No. 102. |
| 1794 | Accession to power of Nikolaus II, who calls for a mass to celebrate the princess’s name day every year. Six new masses are written: the “Heiligmesse” in B-flat major and the “Kettledrum Mass” in C major (1796), the “Nelson Mass” in D minor/D major (1798), the “Theresienmesse” in B-flat major (1799), the “Creation Mass” in B-flat major (1801), and the “Wind Band Mass” in B-flat major (1802). |
| 1796 | Vocal setting of the initially instrumental version of “The Seven Last Words of Our Saviour on the Cross;” Trumpet Concerto in E-flat major. |
| 1797 | Emperor’s Hymn “Gott erhalte Franz den Kaiser” (“God Save Emperor Francis”) and the Emperor Quartet in C major, Op. 76 No. 3. |
| 1798 | Premiere of his oratorio “The Creation.” |
| 1801 | Performance of oratorio “The Seasons.” |
| 1809 | Dies in Vienna on May 31. |
关于作者
Wolfgang Stockmeier (Editor)
Prof. Dr. Wolfgang Stockmeier, born in 1931 in Essen, studied church music, school music, composition, musicology, German and philosophy in Cologne. In 1957 he did his doctorate and from 1957–1960 he worked in higher education in Essen, then as a head of department at the state teacher training college, before taking on a position as professor for organ, improvisation and composition at the music conservatory in Cologne until 1994. At the same time he was a lecturer at the University of Cologne and at the state church music schools in Düsseldorf and Herford for many years. In 1974 he became Head of the Institute for Protestant Church Music. From 1990 he was also pro-rector at the conservatory.
His international concerts lectures and jury activities have taken him to the USA and East Asia. He was awarded the “Deutscher Schallplattenpreis” for two of his recordings of organ music, of which he has made over 150. In addition to his work as an editor, he has published numerous compositions: four oratorios, three symphonies, an opera, (libretto by Gabriele Wohmann), twelve organ sonatas, three piano sonatas, as well as chamber music works and motets. Wolfgang Stockmeier died on 11 December 2015.