November / December 2015

The String Trios of Heinrich von Herzogenberg

Heinrich von Herzogenberg (1843-1900) was often written-off as nothing more than a pale imitation of Brahms, of whom he was a great admirer. There is no denying that his music often strongly shows the influence of Brahms, however, listeners and players alike, who have visited the music, have discovered that it is original and fresh, notwithstanding the influence of Brahms. Many compositions, especially his chamber music, are first rate and Brahms might well have wished he had written some of them. Brahms, who was not in the habit of praising other composers publicly, wrote of Herzogenberg (to whom he had often responded harshly and with criticism) “Herzogenberg kann mehr als alle.”

Herzogenberg’s two string trios were written one after another and completed in 1877. They were revised and published in 1879 and have consistently received high praise. They are among the few works of Herzogenberg which Brahms publicly praised and they received high praise from Wilhelm Altmann in his Handbuch für Streichquartett-spieler (Vol.III, pp.31-33).

No major composer (including Brahms) had, since Beethoven, published string trios. (Schubert’s remained in manuscript awaiting publication) So, it is not surprising that Beethoven was to serve as Herzogenberg’s structural model. The opening subject to the first movement, Allegro, of String Trio No.1, Op.27 No.1 in A Major, is bright, graceful and syncopated. Beginning first in the violin, it is taken by all in turn. The second theme, is equally cheerful, but somewhat broader and is sounded especially well in the viola and cello timber. Since both themes are characterized by their forward motion, there is the sense of constant motion, or as Brahms wrote, “it bustles forth lovingly.” The whole of the movement, including the development section, is really devoted to the juxtaposition of these two themes. This rhythmic interweaving isn’t always easy to put together. The Andante which follows is in two sections. The first is a beautiful folk melody, slow and lyrical, with an very effective accompaniment in the cello. The 2nd is quicker and a little turbulent with rhythmic challenges from an ensemble standpoint. This is a truly striking and original movement. Next comes an Allegretto, which for its main theme has an vaguely oriental quality by virtue of the way it sounds in the viola register and the use of mordents. It is a kind of “Shepherd’s Lament” which quickly morphs into a kind of rustic peasant’s dance and must be considered a scherzo in character. The middle section has a rococo dance quality to it. The mood of the finale, Allegro, is similar to that of the 1st movement, bright and graceful, however, the marcato second theme is more serious. It appears twice without any real development and then is used for the coda where, in the run up to the conclusion, the writing becomes rather orchestral and in a register where the three voices cannot quite pull it off. However the actual concluding measures are quite effective.
 

The opening to String Trio No.2, Op.27 No.2 in F begins with the cello, all by itself, quietly introducing the first theme pizzicato. The bowed version is presented thereafter by the viola. When the violin enters, it becomes clear that this is a fugue, after which the theme receives canonic treatment. The second theme is dark, more chromatic and so intricately woven into the fabric of the first that it is hard to hear where one begins and the other ends. The Andantino, which follows, has the same format as the slow movement of 1st Trio. A lied presented entirely by the violin and again it is followed by a piu mosso section, the theme to which has the quality of a barcarole. These rolling 16th notes eventually become accompaniment to a cello melody. A Tempo di Minuetto comes next. It begins with an old-fashioned and somewhat dry melody of the sort to which 18th century French aristocrats might dance. The second strain, partially in minor, is more robust. The trio section, rather than being slower, is marked Piu vivo. Its lovely melody is sung by the violin and then later appears in cello as part of the coda. It is accompanied by the striking use of bariolage in the other voices. The very fine finale, Allegro vivace, begins with a truncated fugal version of the energetic first theme. The second is more lyrical.
 

You can hear soundbites from each movement on our website and the parts are available from Edition Silvertrust.