Ignaz Joseph PLEYEL (1757-1831)
Piano Trios
Trio in C (Ben 441)** [21:08]
Trio in e minor (Ben 435)** [18:00]
Trio in A (Ben 448)* [14:28]
Trio in f minor (Ben 442)** [17:53]
Trio 1790 (Harald Hoeren (fortepiano), Annette Wehner (violin), Imola Gombos*,
Jennifer Morsches** (cello))
rec. 15-18 March 2007**; 15-16 September 2008*
CPO 777 544-2 [71:38] 
The name Pleyel is first and foremost associated with the history of the piano.
In 1807 in Paris Ignaz Joseph Pleyel founded a firm for the building of pianos.
He adopted the English action, and this was to become the standard in piano
making down to the present day. Many composers of the 19th century including
Chopin had a strong preference for Pleyel's pianos. In 1795 he had settled
in Paris, opened a music shop and started printing music. His firm published
around 4,000 compositions, by Pleyel himself, but also by some of the leading
composers of the time, like Haydn, Boccherini, Beethoven and Clementi. At
that time his own composing had strongly diminished. Some music-lovers probably
didn't regret that. Charles Burney wrote that "critical observers"
had noted that "his fancy, thought at first so fertile, is not so inexhaustible,
but that he frequently repeats himself, and does not sufficiently disdain
the mixture of common passages with his own elegant ideas".
Pleyel was born in Ruppersthal in Austria and received his first music lessons
from Johann Baptist Vanhal. He became the protégé of count László Erdödy who
was related to Haydn's patrons, the Esterházys. This resulted in Pleyel becoming
Haydn's apprentice. His first stage work was a marionette opera which found
its premiere in Esterháza and in Vienna. The next stages of his career were
as Kapellmeister to count Erdödy in Pressburg and then as assistant
and later successor of Franz Xaver Richter in Strassburg. Soon the French
Revolution put an end to the religious functions of the cathedral and to all
public concerts. Like Haydn Pleyel accepted an invitation to London, in his
case by the 'Professional Concert', organised by Wilhelm Cramer. This was
a rival of Johann Peter Salomon's Haydn concerts. But the enmity and fierce
competition between the master and his pupil many people expected - and hoped
for - did not materialize. Haydn and Pleyel were on friendly terms, spent
time together and attended each other's concerts. Haydn was the more popular
composer but Pleyel certainly had success too.
There is no doubt that Pleyel's music is strongly influenced by Haydn, as
Mozart observed in regard to a set of string quartets, probably Pleyel's opus
1. Even so, the four trios for keyboard, violin and cello which Trio 1790
has recorded contain enough individual elements to make them an interesting
addition to the repertoire. Pleyel composed 50 trios, and this disc presents
four from three different sets. The first set of six was published in 1788;
one of them is the Trio in e minor (Ben 435). The first movement is
longer than the other two put together. It is dominated by one motif which
is presented by the keyboard alone at the beginning. The second is very short,
and the piece ends with a rondo, one of the favourite forms in classical chamber
music. Here the violin plays an extended role.
In 1790 and 1791 the next six were printed in two issues. It is telling that
they were published by four publishers, reflecting the popularity of Pleyel's
chamber music. The Trio in C (Ben 441) is again in three movements.
It is notable that the opening allegro molto is preceded by an adagio, quite
unique in chamber music of the time, even though this introduction lasts ony
four bars. The second movement is again in a then popular form, a theme with
variations. In the first variation the violin plays a notable role, whereas
in the third the keyboard and the violin step back to make way for the cello
to play a solo line. The trio ends with a movement which shows the influence
of folk music. The Trio in f minor (Ben 442) seems to have a rather
sombre character, but soon turns into the major. This trio has only two movements;
the second is a menuet in the minor with a trio in major.
Elements of folk music also turn up in the Trio in A (Ben 448). It
is one of 18 trios Pleyel composed for George Thomson, a folk-song enthusiast
from Edinburgh, who invited several composers to arrange Scottish folk-songs
for voice and piano trio, like Haydn, Beethoven and Kozeluch. Pleyel also
wrote such arrangements, and in addition he incorporated folk-song material
in the trios he wrote for Thomson. In this particular trio the second movement
is called 'Rondo Ecossais' with the indication 'allegretto scherzando'.
Piano trios were particularly popular in the last decades of the 18th century.
Haydn wrote a large number, which Trio 1790 has recorded complete. They also
have recorded trios by the likes of Kozeluch and Dussek, alongside better-known
composers like two Bach sons and Beethoven. This recording of four trios by
Pleyel reflects their sense of adventure. Although trios by Pleyel have been
recorded before, as far as I know only one other disc exists with performances
on period instruments, by the Pleyel Trio Wien (Gramola). I haven't heard
that disc; fortunately only the Trio in f minor appears on both. The
playing of the Trio 1790 is of the highest order. Harald Hoeren is one of
the founding fathers of this trio, and the only one still playing in it. The
tracklist says that he plays 'harpsichord (Fortepiano)'. Where did that come
from? There is no harpsichord played here; that would be highly inappropriate.
The fortepiano is not specified. It sounds like an instrument with German
action, and I just wonder whether a fortepiano with English action would have
been more suitable for the later trios.
In these trios the keyboard has the lead, and Harald Hoeren takes it. His
dynamically differentiated playing is a joy to listen to. Annette Wehner is
an excellent violinist with a beautiful tone, blending perfectly with the
keyboard. The solo episodes are very well executed. The cello has a minor
role in many piano trios of the classical period, and that is also the case
here. The solo in the third variation of the Trio in C is nicely played
by Jennifer Morsches, also known as a member of the Orchestra of the Age of
Enlightenment.
Those who love the classical piano trios by the likes of Haydn and Mozart
will definitely enjoy this disc. More recordings with music by Pleyel would
be very welcome.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
The playing of the Trio 1790 is of the highest order.