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