January / February 2013

The Piano Trios of Woldemar Bargiel

The opportunities which led to whatever success and recognition Woldemar Bargiel (1828-97) enjoyed during his lifetime were in large part due to the fact that he was Clara Schumann’s half brother. Thanks to Clara, Bargiel was introduced to both Robert Schumann and Mendelssohn. Schumann suggested that Bargiel study at the Leipzig Conservatory, which he did with Ignaz Moscheles (piano) and Niels Gade (composition). After leaving Leipzig in 1850, he returned to Berlin where he tried to make ends meet by giving private lessons. Eventually, Clara and Robert were able to arrange for the publication of some of his early works, including his First Piano Trio. Ferdinand Hiller, the well-known piano virtuoso, was made aware of Bargiel through Clara and in 1859 offered him a job as a piano and theory teacher at the Cologne Conservatory. Eventually, he obtained teaching position at the Berlin Hochschule which his friend Joseph Joachim had founded. Bargiel taught there for the rest of his life. Among his many students were Paul Juon and Leopold Godowsky. Besides teaching and composing, Bargiel served with Brahms as co-editor of the complete editions of Schumann’s and Chopin’s works. While Bargiel did not write a lot of music, most of what he composed was well thought out and shows solid musical craftsmanship. His chamber music—he wrote four string quartets, a string octet and three piano trios—represents an important part of his output.

Bargiel’s Piano Trio No.1 in F Major, Op.6 dates from 1851 and was begun just after he left Leipzig. Schumann gave him considerable help in the way of suggestions and criticism. In gratitude, Bargiel dedicated the Trio to him. It met with immediate success upon its publication in 1855 and became one of Bargiel’s best known works. This trio is written on a grand scale and takes nearly three quarters an hour to perform. It begins with a lovely, pensive Adagio introduction. No sooner is this concluded than we hear the hand of Robert Schumann in the opening notes of the Allegro energico. The triumphal march-like theme sounds as if it would be quite at home in Schumann’s own piano quintet. One must remember the young Bargiel idolized his brother-in-law, who at that time was Germany’s greatest living composer. The second movement, Andante sostenuto, begins with a very romantic melody. There are two rather dramatic interludes during the middle section which briefly disturb an almost other-worldly calm. Again, though the spirit of the great Schumann is never far away, but one must admit the movement is a total gem and certainly as fine as anything Schumann ever did on his own. It is almost as if the two of them created a synergy which surpassed that which Schumann himself was able to achieve. The third movement is a Scherzo to be played presto. The rhythm of the syncopated main theme bears some resemblance to the scherzo from Beethoven’s Symphony No.9 but this is Halloween music, a dance of ghosts or goblins. In the striking development section, the piano takes over the syncopated rhythm while the strings emit long drawn-out sighs, an original and successful effect. In the trio, Commodo, molto piu lento  Bargiel takes us into a fairy world as the strings play sustained background chords to a tinkling melody in the piano. Another excellent movement. This brings us to the finale, Allegro con fuoco, in which Bargiel creates a massive fugue. The opening theme is stated first by the piano with the cello entering next and then the violin. What makes this fugue particularly interesting is the fact that it is a breathtaking moto perpetuo. The music whizzes along at an incredible speed. Again we hear Schumann, this time in a passage closely resembling the trio section of the Scherzo from the Piano Quintet. In 1861, the Neue Zeitschrift für Musik wrote, “This trio (Op.6) belongs to the most important works of the post-Schumann era in the field of chamber music.” The article continues by placing the Op.6 “in the very front rank of piano trios” along with Brahms’ Op.8—strong praise indeed. While it is undeniable that the perfume of Schumann has heavily scented Bargiel’s Op.6, it is not a work by Schumann. There are some important differences, one being that Bargiel had a more felicitous gift for melody. The Op.6 outshines all of Schumann’s own piano trios and would be in the repertoire today had Schumann composed it. This outstanding work deserves to be heard and played. It is not beyond the ability of able amateurs.

By the time Bargiel came to write his Piano Trio No.2 in E Flat, Op.20 (1857-8), Schumann was dead, and the music of this trio reflects that Bargiel had, by and large, escaped the great man’s thrall. While this was obviously all to the good from the point of originality, the tight structure and architectural perfection, a Schumann hallmark, are no longer so apparent. When the trio was published in 1860, it did not receive the unstinted praise the First had. The various musical reviews were puzzled by what they called certain harsh harmonizations. Brahms, who maintained a close relationship with Bargiel wrote to Clara, “I saw to a certain extent some progress but I have a genuine fear of everything that has a Lisztian air about it. A lot of things go through my mind when I look at the work. Along with the good...there are instances of harmonic arbitrariness that my ear can’t bear and polyphonic textures in which the counterpoint seems to me to be empty and at times even ugly. It is unlikely that Brahms continued to feel quite the same about the harmonization as time passed. Certainly our ears, from the vantage point of 150 years on, do not take offense at any of the harmonizations we hear. In the first movement, Allegro moderato, the piano gives out the kernel of the powerful main theme which is expanded upon in a dramatic fashion and developed in great detail as the music progresses. The part-writing is quite good and the strings are not eclipsed by the piano. The piano part is effective without being virtuosic. No trace of Schumann here, but now and again, one hears a touch of late Schubert. Next comes a long, solemn Andante. In the Scherzo, molto allegro, which follows Bargiel opts for creates a spooky mood, created by the rhythm of the main theme.. It is a dance of the goblins, not a sprightly dance but one where the dancers might be called “lead-footed.” The middle section, Tranquillo, provides a suitable contrast to the main section. In the coda, we hear some of the harmonies which Bargiel’s contemporaries may have found harsh but to my modern ear, they sound entirely appropriate. The finale begins with an Andante poco Adagio. introduction. which leads to an Allegro. The syncopated theme is upbeat and full of bounce. The second theme, played by the strings, is more lyrical. Not overly long, the finale satisfies entirely. Trio No.2 is within the range of good amateurs. I believe it could succeed in the concert hall and does not deserve to be ignored.

Piano Trio No.3 in B Flat, Op.37 was completed around 1868 and published in 1870. It was well-received and was not attacked for its harmonic harshness as its predecessor had been, probably because by then the music of Liszt, Wagner and the so-called New German School had made considerable headway. The opening movement, Allegro moderato, con grazia, starts in rather dainty fashion with the strings and piano almost shyly presenting the attractive and happy main theme. The well-done development unfolds rather leisurely giving a sense spaciousness. The second theme is somewhat more emotional with several dramatic climaxes. The first theme to the following Andante, molto sostenuto, is of considerable beauty. This theme is quiet and valedictory, perhaps based on a folksong. The development is skillful and raises the tension without becoming stormy. The second theme is also quite lyrical. The loud unison opening chords of the Scherzo, Allegro come as a violent shock to the quiet closing of the Andante. They announce something really special, a movement which leaves nothing to be desired from its fiery and heavily accented opening theme, complete with a clever dialog between violin and cello, to its dream-like trio. First rate all the way. The finale, Allegro moderato, begins with a very fetching and lyrical melody given to the cello. The development section is more buoyant and almost becomes a march. The imaginative use of triplets is quite striking. We hear them first as a piano accompaniment figure to the lyrical main theme, then they serve to create a march, and finally they briefly appear as the theme in a fairy dance episode. There is also a second and more heroic theme. In the highly effective coda, the music plunges into almost complete silence before quickly building to a triumphant conclusion. This is really a superb work which should be in the repertoire. It is a great pity that it has been ignored by today’s performing trios.

You can hear generous soundbites of each of these trios on our website and the sheet music to all are  available from Edition Silvertrust.