| This survey seeks to offer performers a sound analytical and interpretational examination of a third great series of Haydn masterpieces dating from his years in England, his piano trios. It is hoped that my efforts will increase awareness of these works as worthy companions of the symphonies and string quartets written at this time.;The study begins with an exploration of the identity and disposition of Haydn's trio ensemble. A primary goal of this chapter concerns exploration of the numerous links between the trio ensemble circa 1795 and the contemporary orchestra. If performers grasp Haydn's allusions in these works to the larger ensemble, and join them to his invocation of traits appearing in the ethnic music of both Great Britain and Central Europe, they will hopefully better appreciate their individual contributions to the music, even when they are not articulating melodic material.;The study thoroughly examines Haydn's imaginative use of sonata form, and links the trios to the virtuoso world of the concerto; the topic of appropriate embellishment by performers receives major consideration, as do currently available editions and recordings of this repertoire. A detailed examination of the Trio, H. 29, provides the focal point of the dissertation, bringing together all of these strands. |
