July-September 2020

The Piano Trios of Joseph Rheinberger

Piano Trio No.1 in d minor, Op.34 dates from 1862 and was composed in only 3 days time. Dedicated to Lachner, it was premiered in 1866 with  Rheinberger playing the piano part himself. (An accomplishment of note, since the part requires a soloist absolutely of the first rank.) The first movement, Allegro appassionato, has a syncopated and muscular opening theme but it is harder to put together than it looks. The development section, in particular, requires the pianist to play several series of cascading triplets, which for the most part provide only background noise to the theme in the strings. The second movement, Adagio espressivo has two sections. The main theme, introduced by the piano with the strings tacit, is sweet and tender and perhaps the words “romance” might be justified. Of note are the very unorthodox figures which appear in the piano accompaniment when the strings take over the melody. As fine as the main theme is, it is the brief appearance of the second theme, Piu mosso e feroce, before the recapitulation which creates a lasting impression and gives striking evidence of Rheinberger’s genius. The third movement, Scherzo vivace, is rather genial and relaxed which even the vivace tempo cannot change. The main section is in the form of an elegant waltz in which the piano has a dominant role complete with little virtuoso flourishes that are not, however, as superfluous as some of the long runs given it in the first movement. The trio, a kind of musette, does not provide enough contrast to the main section. The conclusion, Finale all’ongarese: Allegro vivo, is an extraordinary movement from its opening measures which instantly grab one’s full attention. Following this very unusual beginning, Rheinberger continues in a highly unorthodox vein veering off into a capriccioso, one that is full of gypsy fire. As fine as this movement is, it must be admitted that the technical demands on the pianist are at least as great as those of Mendelssohn trios, to the level of the virtuoso.

The 16 years which separate the First Trio from Piano Trio No.2 in A Major, Op.112 which came out in 1878 made a difference. At 23, Rheinberger was a prodigious keyboard performer, feeling his way in the world of chamber music. In the First Trio the piano is given many bravado episodes. These are now gone. The development of the main theme and the second theme all show the touch of a master. The part-writing is in true piano trio style, a la Franz Schubert: The different capabilities of the piano are recognized but it treated in an equal, and as much as possible, similar way to the strings. The occasional flourish does not change any of this and is entirely in keeping with the music. The opening movement, though marked Allegro, is not particularly fast and is redolent of a kind of Brahmsian geniality. The second theme is a highly lyrical and romantic duet between the violin and cello. In the Andante espressivo, which comes next, there is a slinky, gnome-like first theme by itself. The second subject more lyrical and dynamic. Third comes a Tempo di Minuetto, we hear two lovers calling out to each other in joy. It is a lovely and sparkling moment. It is contagious, one wants to get up and dance. The trio cannot really be called dark although the mood is more subdued. The finale, Allegro con fuoco, is full of spirit beginning with the opening measures which are a trumpet call of affirmation: The real main theme comes after the trumpet call. It is a kind of destiny motif, a hymn of affirmation. This trio is a masterpiece from the romantic era. Successful in everyway. It belongs in the repertoire. It can be managed by amateurs with a good pianist.

During his lifetime, Piano Trio No.3 in B flat Major, Op.121, dating from 1881, was probably the most popular of his piano trios, performed all over Europe and in New York and Boston.  The opening bars of the first theme bring to mind Rock-a-bye Baby although it is hardly an exact quote. This genial theme sets the amiable mood of what is a rather large movement, perhaps larger than the thematic material justifies. The development section and second theme are an attempt to create a heightened sense of drama, but they seem ill-suited to the rest of the movement. What comes next is, without doubt, one of the finest movements in the romantic piano trio literature. The haunting theme of the Romanze Andantino is ushered in first by the violin and then the cello to the pulsating eighth note accompaniment of the piano. One is reminded of the slow movement to Schubert’s Piano Trio No.2 with its so-called Swedish Lied. Suddenly we hear the inexorable forces of destiny in the form of a powerful march which is taken up by all three instruments in unison. The two themes are  masterfully blended creating a very effective, hushed coda. A few moments of silence are really required before going on to the captivating and clever Scherzo. allegro which sounds just like it jumped out of the composer’s head fully grown. The middle section has a Brahmsian theme which provides a nice contrast. The finale, Con moto, is more or less a rondo, full of invention and clever effects. Basically upbeat, the mood is suddenly and surprisingly changes into one of horror and foreboding to the beat of a grotesque march in which the composer asks the performers to play the music with ferocity. The whole effect makes a great impression. In this trio, the strings are almost always in the forefront with long-lined melodies. The piano part, though not easy, is most often used to create the lovely landscape backgrounds upon which the strings sing. This is a first rate work which deserves to be heard in the concert hall and become part of the repertoire. It is well within the ability of amateurs and can be recommended to them as well.

 In 1898, Rheinberger composed his last piece of chamber music, the Piano Trio No.4 in F Major, Op.191. The attractive opening theme of the first movement, Moderato, has a somewhat autumnal quality to it. The tonal warmth and congeniality reminds one a bit of Brahms. The second theme is closely related to the first and does not initially change the mood. Here and there, the music builds to a brief dramatic climax, but overall it is amiable and without tension or pathos. The second movement, Adagio molto, has a brief introduction which is a slightly sad and march-like, but the main theme is one of more affirmation. It turns out that the second part of the main theme is composed of the sad march. It exhibits great power with marvelous writing. A high-spirited Tempo di Menuetto comes next. With an allegro bordering on presto yet the music shows no sense of hurry. The trio section is slower and is more muted in spirit The main theme to the finale, Allegro moderato,  carries the music forward effortlessly while creating a vibrant sense of excitement. None of the  successive themes cloud this music of joy. Again we have a very good work well within the grasp of amateurs and certainly suitable for the concert hall.

 We highly recommend these works to professionals and amateurs. You can hear soundbites from all three string quartets by clicking on the links above. And all are available from Edition Silvertrust.