CHAPTER X.
CHAMBER MUSIC OF RECENT TIMES.
Trio by E. Schütt — Trio by Kirchner — Raff’s C minor Trio — Balfe’s Trio in A major — Trio: C. Hubert Parry — Trio: Bargiel — Sterndale Bennett’s Trio, op. 26 — Trio, D minor: F.E. Bache — Trio, E flat: Nawratil — Trio: Goetz — Trio: Schmidt — Other Trios — String Trios — Quartett: Mackenzie — E flat Quartett: Rheinberger — Quartett: W. Rabl — Quartett: Prout — Quartett: Verdi — Quartett: Onslow — Quartett: W.H. Veit — Unusual combinations.
Here we must notice a few chamber compositions, chosen chiefly from the works of musicians of our own or of recent times. No special method of selection is followed, nor must the list be regarded as at all an exhaustive one. Only what is thought may prove acceptable and useful to earnest amateurs is mentioned.
Trio by E. Schütt
A Trio, Walzer Märchen, op. 54, for piano, violin, and ’cello, by Edward Schütt, consists of three delightful musical stories, told in waltz rhythm, without a trace of monotony, which might easily arise under such conditions. Schütt, their composer, lives in Vienna, where he has conducted the Akademischer Wagnerverein. He has written a number of works, and among them is a Piano Trio in C minor, which has met with much approval.
Trio by Kirchner
In the Novelletten Trios, op. 59, for piano, violin, and ’cello, by Theodor Kirchner, we have a set of refined and well-written pieces which display a considerable amount of character. Kirchner, who was an intimate friend of both Mendelssohn and Schumann, has written a large number of works, chiefly in the smaller forms, for the pianoforte. His model has evidently been Schumann, and he even gives to some of his works titles which were used by that master. For instance, his op. 17 he calls “Neue Davidsbündlertänze,” and op. 53 “Florestan and Eusebius.”
Raff’s C Minor Trio
The composer, Joachim Raff (1822-82), of the Trio in C minor, op. 102, for piano, violin, and ’cello, was a distinguished example of what has been called “fatal facility.” His powers of musical invention seemed inexhaustible, and this, along with the demands of publishers, and probably, pecuniary needs, led him to overwrite himself, for of his two hundred and fifty and more works many are of but little value. With his larger works, generally speaking, it is different, and at any rate his symphonies and overtures entitle him to a leading place among contemporary composers.
This Trio also ranks as one of his best works. It is full of genuine melody and true poetic feeling, the andante (Mässig langsam) being especially charming. Those who are in sympathy with the advanced school of composition will find food for their fancy also in the String Quartett in D minor, op. 77, by this composer. It is well known that Raff was an ardent follower of the Liszt-Wagner school, and in this work he fully reveals this tendency. The third movement is an extremely fine example of the emotional style, full of rich and glowing passages which bring to mind the intensity and glamour of Tristan and The Ring. The Quartett, though difficult, is well worth knowing, if only for the sake of this movement. As has already been said, Raff no doubt wrote too much, and, in colloquial phrase, too often “gave himself away,” but for all that he had the root of the matter in him, and at his best he rises to great heights.
Balfe’s Trio in A Major
To those who only know Michael W. Balfe (1808-70) as the composer of The Bohemian Girl and other operas, his Trio in A major for piano, violin, and ’cello will come as somewhat of a surprise, for as a general rule we do not find in opera composers the power to bring to a successful issue works of this class. Here, however, may be found not only tunefulness, but such technical skill and musicianship as this style of composition demands. Each movement possesses merit of no common order, and especially the scherzo may be mentioned as being distinguished by freshness and vigour, and also by certain humorous touches which serve to remind us that Balfe was musically, as well as nationally, an Irishman.
Trio: Sir Hubert H. Parry
Chiefly because of its being ahead of its time, and partly because of its difficulty, Sir Hubert H. Parry’s Trio in E minor for piano, violin, and ’cello has not had the recognition which it deserves, for it is a noteworthy work by one of our distinguished English composers. It also probably represents its composer’s Sturm und Drang period. But it is the works of such periods which very often most fully reveal the aspirations and powers of an artist, even when also displaying the immaturities of inexperience.
The second movement, and especially the adagio which follows, contains some of Sir Hubert Parry’s best music. The allegro giocoso with which the trio ends will, like the whole work, repay study, although it doubtless makes large demands on both performers and listeners.
Trio: Bargiel
Waldemar Bargiel (1828-97) was one of the followers of Schumann, under whose influence, and also that of Mendelssohn, he came at an early age. Later in life he worked with Dr. Joachim at the Royal Music School in Berlin. His works, without being absolutely great, are distinguished by sound musicianship and all those qualities which arise from true refinement and culture. The Trio in E flat, op. 20, for piano, violin, and ’cello is written in an elevated and interesting style. The andante especially is a nobly expressed and poetical movement.
Another Piano Trio by this composer is that in F major, op. 6. This work, which is dedicated to Schumann, commences with a theme whose first four notes are quoted from the scherzo of that master’s Piano Quintett in E♭. It does not, however, either as regards its themes or its poetic feeling, compare favourably with the op. 20.
Sterndale Bennett’s Trio, op. 26
The Chamber Trio, op. 26, for piano, violin, and ’cello, by Sir William Sterndale Bennett (1816-75), is the fairly-well-known work of a composer of whom it has been said that although “the number of his compositions is not large, for polish, refinement, and careful elaboration they vie with the best in musical art.” “He is in a special degree a musicians’ composer. His excellencies, in addition to the real and genuine feeling for beauty and expression which pervades his music, belong to that interesting and delicate type of art which illustrates in a special degree the fitness of means to an end, the relation between the feeling expressed and the manner and medium of expressing it; a class of artistic production which always has a peculiar interest for artists, and for those who study critically the details of the art illustrated.”[41]
The Trio op. 26 consists of three movements—a charming andante tranquillo, followed by a serenata, and concluding with a vigorous allegro fermato. In the serenata the violin plays pizzicato throughout, while the cantabile melody is chiefly given to the piano, occasionally reinforced by the ’cello, which also joins the violin in the pizzicato effects.
Trio, D Minor: F.E. Bache
We are not aware whether the Trio in D minor, op. 25, by Francis Edward Bache (1833-58), is generally known. If not, it certainly deserves to be. In style it is no doubt Mendelssohnian; indeed, in choice of keys and treatment it closely follows that master’s op. 49; but at the same time there is individuality in Bache’s work. Much modern chamber music, especially of continental origin, is burdened with elaborations and flights of fancy which, to say nothing harsher, render it almost unintelligible unless performed by artists of the highest executive skill, whilst in the hands of the average amateur the result is usually chaotic. All this is avoided in this Trio. Without being in the least tame or insipid, it is never unreasonably difficult. The opening allegro is fresh and vigorous in style, and in the andante the treatment of the three instruments is more than usually interesting. A rondo (allegro molto ed appassionata), twice interrupted by a melodious episode (un poco più lento), brings the Trio to an end. The composer of this Trio was the brother of the well-known pianist, Walter Bache, who laboured so unselfishly in the cause of advanced music, and especially in introducing the works of Liszt to the British public. Francis Edward Bache showed great musical ability as a child. He studied the violin under Alfred Mellon, who was at that time conductor at the Birmingham Theatre, and in 1846, when Mendelssohn conducted his Elijah there, the boy, who was then thirteen years old, was allowed to play in the orchestra.
There can be no doubt, from the works he has left behind him and the high opinions held of him by Sterndale Bennett, Hauptmann, and Plaidy (Leipzig), under whom he studied, that had he lived he would have become a distinguished addition to the list of English composers.
Trio, E Flat: Nawratil
Karl Nawratil (1836), the composer of the Trio in E♭, op. 9, for piano, violin, and ’cello, has for a long time enjoyed an excellent reputation as piano-teacher in Vienna. Among his pupils have been Madame Essipoff, Edward Schütt, and others who have distinguished themselves. He has written in various styles, and in chamber music form as well as this Trio, a String Quartett, two Piano Quartetts, and another Piano Trio.
The Trio in E♭ is an interesting composition, and quite grateful music to play. The last movement, with its fugal episode, may be specially mentioned. The work is dedicated to Brahms.
Trio: Goetz
Hermann Goetz (1840-76) is known at any rate by two works which proclaim him to have been a highly gifted artist, and it is reasonable to think that but for his early death he would have come to occupy a very distinguished place among contemporary composers. The works referred to are an opera, The Taming of the Shrew, and the F major Orchestral Symphony. There is also a fine setting, for soprano solo, chorus, and orchestra, of the psalm “By the Waters of Babylon,” and another of Schiller’s Nänie. He was also engaged at the time of his death on a second opera, Francesca da Rimini, the sketch for which was completed by his friend Frank, and performed at Mannheim in 1877.
The Trio in G minor, op. 1, for piano, violin, and ’cello, is a composition of dignified character, and full of true poetic feeling. This composer unquestionably had something to say, and he knew how to say it. His other chamber music works are a Piano Quintett in C minor, a Piano Quartett in E, and a Piano Sonata for four hands.
Trio: Schmidt
Oscar Schmidt, an unknown variant of the familiar name, has written a Trio in G minor, op. 24, for piano, violin, and ’cello, which may be recommended as a pleasant and sincere, although not great work. It is composed in classical form, with the usual four movements. The adagio opens with a charming and effective theme for the ’cello, and the whole trio is well laid out and playable for all the instruments.
Other Trios
Other piano, violin, and ’cello trios which may be mentioned are:—
Trio in F, op. 18, by Saint-Saëns (1835), which is a well-written work, showing its composer’s remarkable versatility.
Trio in E♭, op. 35, by Sir C. Villiers Stanford (1852), the second movement of which is a most dainty allegretto.
Trio in B♭, op. 27, by B. Molique (1802-69), an artist who, both as composer and violinist, worthily upheld a high classical standard.
Novelletten, op. 29, and Trio in F, op. 42, both by Niels W. Gade (1817-90).
Trio in B♭, op. 52, by Anton Rubinstein (1830-94), with a very fine adagio movement.
Serenade Trio, op. 64, by Ferdinand Hiller (1811-85). The slow movement is called “a Ghazel.” This has been described as a short form of Persian poetry, in which the rhyme of the first two lines is repeated in every alternate line throughout the piece. Hiller’s musical equivalent for this is a simple phrase repeated by the strings, the piano filling up the intervals with other matter. Another of the movements is written chiefly in 5/4 time, but save for these peculiarities, the trio is not of any great value.
Two Trios, op. 21 and op. 32, by Emil Kreuz, for piano, violin, and viola, may also be mentioned.
String Trios
As modern works for two violins and ’cello are not often to be met with, reference may be made to Two Trios, op. 135, for this combination, by Aloys Schmitt (1788-1866).
No. 1, in E♭, consists of one movement only; but No. 2, in D minor, has three, viz.:—Allegro moderato, minuet, and allegro. Both are well written, playable, and pleasant. The composer was born at Erlenbach in Bavaria, and lived chiefly in Frankfort, where he was well known as a pianist and teacher of high aim.
Of Trios for violin, viola, and ’cello may be named op. 69 in G minor, by W. Berger (1861). This is the work of a living musician who resides in Berlin. Berger, who has published a considerable number of important works, writes in an earnest and musicianly manner, and although this trio may be somewhat lacking in melodic interest, it should at any rate prove useful to those who seek for music written for this combination of instruments, a form which is of course much rarer than the Quartett.
There are also three Trios, op. 85, for the same instruments, in D, C minor, and F, by Hermann Berens (1825-80), a Hamburg musician.
Quartett: Mackenzie
Prominent among modern quartetts stands that in E♭, for piano, violin, viola, and ’cello, by Sir A.C. Mackenzie (1847). This is an early work of this composer, and one which has hardly been accorded the recognition that it deserves. The third movement consists of a canzonetta with an interesting and fanciful set of variations. The quartett ends with a well-wrought and vigorous allegro. Sir Alexander Mackenzie has not published much chamber music, having, it would seem, preferred to occupy himself with works of larger dimensions.
E Flat Quartett: Rheinberger
The Quartett in E♭, op. 38, for piano, violin, viola, and ’cello, by Joseph Rheinberger (1839-1901), has been a good deal played in England during recent years, and is an admirable example of this refined and musicianly composer.
Another of his chamber compositions, which is not perhaps so well known, is the String Quartett in C minor, op. 89. It is written in the usual form with four movements; the tunes are sincere, and the treatment is interesting, without anything which savours of pedantry. It is also a grateful work, from the performers’ point of view.
Quartett: W. Rabl
The Quartett in E♭, op. 1, for clarinet, violin, ’cello, and piano, by Walter Rabl, calls for mention. Rabl is a native of Prague, where he received his training, and his works have been brought to light chiefly through the instrumentality of the Friends of Music Society in Vienna, of whose committee Brahms was an active member. This quartett, which is dedicated to Brahms, is written in classical form and has many interesting features; it was played at the London Monday Popular Concerts in 1899, during a visit to England of Herr Mühlfeld, the celebrated German clarinettist. Rabl has also written a set of Fantasiestücke, op. 2, for piano, violin, and ’cello, and a fine Sonata in D major, op. 6, for piano and violin.
Quartett: Prout
Dr. Ebenezer Prout (1835), the eminent theorist and musical professor in the University of Dublin, has written, in addition to many works in various styles, and the Quartett, op. 18, in F, for piano, violin, viola, and ’cello, the following chamber music:—two String Quartetts, op. 1 and op. 15; a Piano Quintett, op. 3; a Piano Quartett, op. 2; a Romance for viola, with piano accompaniment, op. 32; a Sonata for piano and clarinet, op. 26; and a Duo Concertante for piano and harmonium, op. 6: all of which may be strongly recommended to amateurs who love a straightforward, intelligible style. The composer’s intimate acquaintance with the music of the great classic period, united to a sensitive and eclectic taste, has enabled him to give to the world in these works music which worthily upholds a true and pure standard. The String Quartett, op. 15, with its charming andante movement, as well as the op. 18, may be specially mentioned.
Quartett: Verdi
A String Quartett in E minor, by Verdi (1813-1901), is the only work which the great Italian opera composer wrote in the chamber music style. It was first privately performed in the drawing-room of the composer’s residence, in 1873, and another performance took place at the London Monday Popular Concerts in 1878. Since that time it does not seem to have been often heard.
The work, which is by no means easy, contains some scholarly and remarkable writing, but for all that it can hardly be regarded as a satisfactory or successful composition. Especially does it lack that melodic interest which one expects from a composer usually so admirable in this respect as Verdi. Compared with his operas and other works, it lacks spontaneity and charm. At the same time it should be remembered that Verdi himself attached no importance to the quartett, and only very reluctantly allowed it to be performed out of his own house. He seems to have been as little successful with this work as probably Brahms would have been with an opera, had he ventured to write one.
Quartett: Onslow
G. Onslow (1784-1852), who wrote a large quantity of music, was a grandson of the first Lord Onslow. He was born in France, where, on his own estates, he chiefly resided. Chamber music was his passion, and of this he composed a great deal, and spent considerable time in its performance, the ’cello being his instrument. His String Quintetts are regarded as his best works, and they contain much charming music. “One of these, called@ “Le Quintette de la balle,” describes his emotions—the pain, the irregular beating of his pulse, and his gratitude on his recovery—consequent on an accident that happened to him at a wolf hunt, where a spent ball hit him in the face, rendering him somewhat deaf in one ear for the rest of his life.“[42] Among his numerous String Quartetts is one in G minor, op. 9, which has an interesting set of four variations on our national anthem, ”God save the King.”@@@
A String Quartett in D minor by Hugo Wolf deserves attention. He has been described as “the intensified and intellectually developed Schubert”! The Quartett referred to is in form and melodic material interesting, especially as an example of the unfettered tendencies in modern music.
A recently-published composition by John B. McEwen must not go unmentioned. This String Quartett in A minor has been performed in London and was approved. Like Dvořák, with whom indeed he has something in common, Mr. McEwen’s music reveals his nationality. The Andante, with a prominent viola part, distinctly appeals to those from “beyond the border.”
Quartett: W.H. Veit
Finally there is the String Quartett No. 1 in D minor by W.H. Veit (1806-64). Although of no great interest otherwise, this quartett contains a musicianly set of variations on the Russian national anthem. Wenzel Heinrich Veit was the district president of the law courts at Leitmeritz in Bohemia, where he lived all his life. Chiefly self-taught, he was an excellent musician, and has left behind him some well-written works.
Unusual Combinations
In the vast répertoire of chamber music the following works for unusual combinations of instruments may be mentioned, although some of them are obviously more musical curiosities than works of art:—
Octett, op. 32, by Liadoff (1855), a Russian composer, for piccolo, two flutes, three clarinets, harp, and campanelli (bells).
Septett, op. 24, in D, by Vincent d’Indy (1851), a somewhat distinguished French musician, for trumpet, two flutes, and string quartett.
Septett, op. 67, by Saint-Saëns, for trumpet, strings, and piano.
Trio (humorous) by Latann, for piccolo, guitar, and trombone.
Theme and Variations by Kroepsch, for tin whistle and piano.
Mozart, Haydn, Hummel, Reicha, Quantz, and others have written for unusual combinations of instruments, as the list of their works will show, but only a few of these have much artistic value.