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April 2023--June 2023

The Piano Trios of Salomon Jadassohn

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Salomon Jadassohn (1831-1902) was one of the most famous and respected teachers of composition during the last half of the 19th century. He was born in Breslau, the capital of the Prussian province of Silesia. First educated locally, Jadassohn enrolled at the Leipzig Conservatory in 1848, just a few years after it had been founded by Mendelssohn. There he studied composition with Moritz Hauptmann, Ernst Richter and Julius Rietz as well as piano with Ignaz Moscheles. At the same time, he studied privately with Franz Liszt in Weimar. Being Jewish, Jadassohn was unable to qualify for the many church jobs which were usually available to graduates of a conservatory such as Leipzig. Instead he worked for a Leipzig synagogue and a few local choral societies as well as teaching privately. Eventually, he was able to qualify for a position at the Leipzig Conservatory, teaching piano and composition. Among his many students were Grieg, Busoni, Delius, Karg-Elert, Reznicek and Weingartner. Jadassohn wrote over 140 works in virtually every genre, including symphonies, concertos, lieder, opera and chamber music, the latter being among his finest compositions. Considered a master of counterpoint and harmony, he was also a gifted melodist, following in the tradition of Mendelssohn. But one also hears the influence of Wagner and Liszt, whose music deeply impressed him.

Jadassohn scholar Klaus-Peter Koch believes that Jadassohn and his music were not better known primarily for two reasons: The first being Carl Reinecke and the second being the rising tide of anti-semitism in late 19th century Wilhemine Germany. Reinecke was almost Jadassohn's exact contemporary and somewhat of a super-star. Not only was he a world famous piano virtuoso but also an important professor at the Leipzig Conservatory and later its director. If this were not enough, he served as the conductor of the renowned Leipzig Gewandhaus Orchestra. Under these circumstances, it was hard for a colleague to get the public's attention. Koch notes, that toward the end of the 19th century, anti-semitic critics attacked Jadassohn's music, labeling it academic and dry, an epithet which has stuck with it ever since without anyone ever investigating. However, even a brief hearing of any of his chamber music reveals how ludicrous this assessment is. Listen to our sound-bites. Salomon Jadassohn was a first-rate composer, who unfortunately was never really given a chance to promote his music.

Piano Trio No.1 in F Major, Op.16 was composed in 1859, The first movement, Allegro tranquillo, shows Jadassohn already in full command of good compositional technique. It is a fine-sounding movement. The opening to the second movement, Andantino, reminds one of the slow movement to Schubert's Great C Major Symphony, but with a somewhat Nordic tone coloring. The finale, Allegro grazioso, reminds one of Carl Reissiger. The lyrical main theme is especially beautiful. The whole trio plays and sounds well and all of the parts are not only grateful to play but present no technical difficulties.

Piano Trio No.2 in E Major, Op.20 was composed in 1860, two years after he had completed his first piano trio. The opening Allegro appassionato begins in e minor and much of the movement stays in that key giving the music a sense of gravitas. A beautiful second theme follows on the heels of the passionate first subject. The second movement, Andante, Jadassohn calls a Romanza ( a romance) With its lovely melodic writing, it evokes a mood of discreet ardor. A third movement, Scherzo, allegretto moderato, is more in the way of a intermezzo with a very unusual juxtaposition of capriciously leaping string parts against a rather plodding piano part. The finale, Allegro con brio, opens with a fetching, melody which has, because of its dotted rhythm, a somewhat military quality to it, but also one feels the aura of Mendelssohn.

Piano Trio No.3 in c minor, Op.59 dates from 1880. It shows us an experienced master of compositional technique. Not only does the trio sound good throughout, it presents no great technical difficulties. The main theme to the first movement, Allegro patetico is vigorous, but the movement is not without its lyrical moments. The second movement, Andante tranquillo, is a Romance. The main theme has a beautiful simplicity. The second part of this movement, Allegro giocoso, holds a lively scherzo, so in actuality the third movement is within the second. The rich finale, Allegro energico, is every bit as good as the first movement.

Piano Trio No.4 in c minor, Op.85 dates from 1887. The opening Allegro energico begins with a powerful theme full of emotion first given to the cello. The writing is highly imaginative, veering from large scale dramatic episodes to more intimate lyrical moments. The light and playful Scherzo which comes next has the vague aura of Mendelssohn about it without in anyway being imitative. There is a wistful trio which provides fine contrast. The long, spacious and highly lyrical opening theme to the slow movement, Adagio sostenuto, begins low in violin register and though it moves forward slowly, it does so with dramatic tension. This is clearly the writing of a master composer. In the finale, the piano dramatically lays the ground work for big opening theme which is taken over by the strings. Along the way, soft charming, lyrical episodes are interspersed with powerful dramatic outbursts.

You can hear substantial soundbites and order these piano quartets by clicking on the boldface links above.

String Qts Dedicated to Haydn-Part 1---March 2012

String Qts Dedicated to Haydn-Part 2---April 2012

3 New Beethoven Quartets?---May 2012

Hermann Berens String Trios---June 2012

2nd Movt Bruckner Str Qnt too hard---July 2012

Arriaga The Spanish Mozart---August 2012

Johan Wikmanson's String Quartets---Sept 2012

Dubois' Piano Trios---October 2012

Trios for Clarinet, Cello & Piano---Nov / Dec 2012

Bargiel Piano Trios---January / February 2013

John Antes String Trios---March / April 2013