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Welcome to our Blog, The Chamber Music News! Our bi-monthly blog presents interesting articles about the music we publish, in more detail than you will find on the individual page. We hope that you will enjoy it, let us know. And, if you would like to see an article about a particular subject (related to what we publish) send us an email at editionsilvertrust@gmail.com

September / October 2017

The String Trios of William Shield

William Shield (1748-1829) was born near Stalwell, county Durham, and trained as a violinist. Later, he studied composition with Charles Avison in Newcastle upon Tyne. In 1772, he was employed as principle violist at the Covent Garden Opera. He knew most of the important composers resident in or passing through London, including Haydn. Shield's works include a large number of operas and other stage works. He was known for his light operas. His Op.3 string quartets, composed in the 1780s, were considered the finest written by a native English composer in the 18th century.

He wrote two sets of three string trios each which appeared without opus numbers, the first in 1792, the second in 1796. They are mostly written in concertante style The melodies are more memorable and make a lasting impression. All of the trios are relatively short works, but are well-written with a string player�s understanding of what each instrument can do. While it would not be fair to compare them to Mozart�s K.563 Divertimento, it is fair to say that they are certainly as good, if not better, than the trios of Haydn, Of note is the fact that the lower voices are given better parts than Haydn gives them. Altogether pleasant works, well worth hearing and playing. A brief survey of some of these trios follows

Trio No.1 is in three movements and concertante style, showing the influence of the Mannheim school of the Johann and Carl Stamitz as well as his friend Haydn. The work opens with an Allegro followed by a Largo. The title to the final movement is quite interesting and shows that Shield was attracted to, what was then, the exotic. The marking is Giuoco, alla Sclavonia-Tempo straniere con variazione�roughly, playful in the foreign Slavonic manner. Actually, it is a modified Polacca. Trio No.2 is in three movements and concertante style, showing the influence of the Mannheim school of the Johann and Carl Stamitz as well as his friend Haydn. The work opens with a bright Allegro followed by a deeply felt Molto adagio and closes with upbeat Rondeau allegro. Trio No.3 opens with an Allegro followed by an lively Andante grazioso and closes with stately dance Un Giuoco. Trio No.5 is in three movements and concertante style, showing the influence of the Mannheim school of the Johann and Carl Stamitz as well as his friend Haydn. The work opens with an atmospheric Largo e sostenuto and followed an inventive Tempo di Ciaccona.

A third set of three trios followed some 15 years later. During this time, Shield had traveled widely on the continent. And in these trios, one can hear what Shield learned while abroad. For example, in Trio No.8, he uses a Siciliano in the second movement, if not the first, certainly one of the first uses by an English composer. Then, in Trio No.9 the last movement is a waltz. Although by 1811, the waltz had been become popular in Vienna and parts of Germany, it did not make its appearance in England until 1812 at which time it was attacked by critics as an �indecent foreign dance.�

You can hear soundbites from each movement on our website and if you desire purchase the parts from Edition Silvertrust by clicking on the links above.