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.