Haydn was also not shy about exploring keys that would have seemed quite unusual at the time, such as the Hob XV: While there is uncertainty as to the chronology of composition, Haydn 's unmistakable elegance and refinement can be heard in each of his creations. Performing in its second volume of what will hopefully be the complete piano trios is the Florestan Trio , one of the most accomplished and decorated piano trios in existence. As in the previous installment, Vol. AllMusic relies heavily on JavaScript.

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The first movement opens with an extraordinary and delicate effect: It evokes the effect of a folk-song in which the singer accompanies herself on the harp. Energetic rushing scales break the spell, vying with more lyrical phrases until a pause is reached, and the folk-tune returns. Again this is interrupted, and the mood for the rest of the opening section is characteristically witty and good-humoured.

The development discusses a selection of the elements that have already appeared, including a version of the folk-tune enlarged to sound more like a chorale. Throughout the movement Haydn makes full use of the capabilities of the English grand pianos—Mrs Bartolozzi must certainly have owned one. The Allegretto could not be a greater contrast to the first movement. In E minor, it has a continuous creeping bass-line, rather as in a baroque passacaglia.

At first all three instruments state the bass together in octaves. Then the piano continues with the line in the bass, while singing an almost operatic melody above it. But this is no ordinary passacaglia: This leads to a forceful reprise of the melody with which the piano solo began, but now in the bass, with the passacaglia line above.

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The movement ends with a series of cadenza-like flourishes. The finale is also full of surprises. The opening theme has quirky phrasing which keeps on subverting the three-in-a-bar metre, and just when you expect the first strain to end after a conventional eight bars, it meanders on for an extra four. In the middle section of the movement, the violin strikes off on its own, in E minor.

The quirky opening theme returns at the end, twice interrupted by chromatic moments, as if it wishes to return to the slow movement, before two chords bring the work emphatically to a close. The first movement is like a march, but with an almost mock-ecclesiastical air, and with its dignity punctuated by sudden accents and flourishes. A middle section moves into the minor, and becomes more serious and lyrical, allowing the violin to expand with a melody of its own.

The decoration becomes more and more elaborate, moving further and further from the mock-simplicity of the original. Just when the march seems to have run its course, Haydn adds a substantial coda, in which the music is pulled towards a remote and strange area, before recovering itself for a final show of self-confidence. For the slow movement, Haydn shifts down a major third to B major. The gently rocking, expansive melody gives the impression that Haydn might be settling down to quite a long movement—as Beethoven had done in his recently published Op 1 piano trios.

At first its mood is genial, but there are moments of truculent stamping, and suggestions of gypsy fiddles and a hurdy-gurdy. And even when the main theme returns, there are several sudden changes of direction, mood-swings, and further elaborations, before Haydn brings the dance to an end with a final twist of the hurdy-gurdy. In the event, it was Artaria in Vienna who published the first edition, in And, like Mozart, Haydn pours out an unusually large number of different ideas, and takes them in unexpected directions. There are two quite separate themes before we have left E flat major.

And then, where a sudden chromatic shifting of keys leads us to expect the second main theme, Haydn instead returns to his first idea, and develops it further in B flat major. From there he moves gently into B flat minor, and at last we do get a new theme; though this too is derived from a phrase earlier in the movement. The development begins with a much more Haydnesque surprise, a sudden lurch into C flat major. Here the first two ideas are subjected to some informal counterpoint before the piano launches into running passages, over a chord sequence that gradually brings us closer to the home key.

But instead of leading seamlessly back to E flat, as Mozart would probably have done, Haydn presents us with another harmonic surprise to get us back to the home key for the reprise. The slow movement, in three-time, has the tread and formality of a courtly dance in C major, with its two parts repeated.

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Then a middle section forgets the dance, becoming animated and conversational. It is the piano that calls the instruments back to the solemnity of the dance, and it recommences as if nothing had interrupted it. But almost immediately the animated running scales of the middle section break through, and the dance is once again forgotten.

There is another moment when the dance is recalled, leading to a pause on a chord of G major as if we are about to return to the dance proper. But instead, Haydn launches straight back to E flat, and into the finale.


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A middle section takes us into a brusque E flat minor, with a yet more insistent motif. At the end of this section, Haydn returns to E flat major not by the obvious route, simply moving from minor to major, but on a detour via B major.

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The music could be heading almost anywhere, but suddenly we turn a corner and find ourselves back at the opening theme. Other composers continued to supply the market for this popular genre for some years to come. But by the time Haydn wrote this last example, his pupil Beethoven had published his three piano trios Op 1, and the ensemble of piano, violin and cello had been set on a dramatically new path into the nineteenth century.

On a surviving autograph of this trio, the first movement is dated , but the second movement is dated a year earlier. The opening Andante is in the unusual key of E flat minor, a sombre rondo with striking use of chords in the bass register of the piano—a region Haydn had come to appreciate on the sonorous English instruments he encountered in London. An episode in E flat major turns the theme upside down, decorating it into a charming fantasia. After the return of the opening, there follows a second episode which transports us surprisingly to the key of B major. Here the violin breaks loose from the piano and soars off into a Schubertian melody it is partly the change of key, down a major third, which makes it sound Schubertian.