Józef Wieniawski - Piano Trio in G-Major Op. 40 (Herbert Piano Trio)

Józef Wieniawski - Trio fortepianowe (ale Trio z fortepianem) G-dur Published in 1885, completed perhaps as early as 1878. Herbert Piano Trio: Bartłomiej Wezner – piano/fortepian Joanna Kreft – violin/skrzypce Dominik Płociński – cello/wiolonczela I - Allegro: 0:03 II - Andante molto cantabile: 10:08 III - Allegro con fuoco: 18:32 IV - Allegro risoluto e non troppo presto: 23:05 Józef Wieniawski (1837-1912) was a virtuoso pianist and the brother of the better-known Henryk Wieniawski. Józef’s career diverged from that of his brother when he decided to tour Europe as a pianist. This life, of course, bled into his compositional style. Anna G. Piotrowska notes: “He belonged to a group of pianists who composed for their own needs, normally their concerts“ [1]. Piotrowska adds that his compositions are homogenous and there is a single style that can be traced through all of his compositions. Despite this, he tried to incorporate any new pianistic idea that he could for the purpose of “showing off“ to the audience [1]. The ultimate goal for Wieniawski was concert attendance, so he focused on virtuosity and technique. If the intention of Wieniawski’s composition was to generate a good reaction, what was the reaction to this work like? One review praises the trio’s 1st, 2nd, and 4th movements, saying that the 1st was evocative of Chopin and Liszt, the 2nd was subtle and brought Grieg and Polish songs together, and that the 4th the most sublime, reminding of Wagner [2]. This reviewer did not, however, like the 3rd movement, saying that it lacked subtlety [3]. There was some discord regarding the reception of this trio. Several non-Polish critics praised the trio (in London, for example, the andante and finale were exceptionally well-received by audiences), but there were still some Polish critics (among others) who criticized it as not being well thought out [3]. Given the success of this work as a concert piece, how does it hold up under scrutiny? Piotrowska intimates that many of these concert pianists’ work was well regarded for their time but that their design for a concert audience left them destined for obscurity [1]. It may be the case that pieces designed for the romantic era audience, if they are not great works of art in themselves, could not be successful in any other context. At the time, trios of Beethoven, Rubinstein, and Chopin were well known. Józef did not vary too far from them structurally, but he injects them with his own style [4]. Broadly speaking, Piotrowska identifies some common patterns in Wieniawski’s work: Cantilena melodies and ornamentation, grace notes and unusual groupings that underline a rhythmic structure, “Full, chordal texture“, chromaticism, chord progressions, and modulation to distant keys [1]. The first movement is full of motifs and classical structures (sonata-allegro form and the return of the 2nd theme in a dominant key) [4]. Occasionally, in its progressions, it builds tension with considerable dissonance for the time. Rzepecki sees the repeated classical structures in this Trio as a move toward neo-classicism [4]. The second movement illustrates Wieniawski’s rhythmic talent and his counterpoint. The opening bars combine the staccato bass with the chords and later the lyrical accompaniment of the violin and cello to create a unique and, at times, truly breathtaking atmosphere. The forte section has a gravitas that contrasts the rest of the movement so extremely that it is almost shocking. The dissonance of this section is especially brilliant. Despite the critical quips about the 3rd movement, it is the most structurally complex, taking the form ABCA’B’ followed by a coda at the end [4]. Of course, complexity is not an end to unto itself. The movement itself shows significant influence from earlier German composers and especially Dvorak’s Trio in E-Major. The final movement ends the Trio with a melody based on triplets of quarter-notes. The entire sonata is filled with series of three quarter notes, so their melodic centrality feels appropriate here. As Rzepecki notes, this work is the culmination of Wieniawski’s chamber music and it betrays a neo-classical direction [4]. Besides that, it contains many moments of genuine sensitivity and shocking originality. For a piece designed for the romantic-era audience, it holds up on its own as a work to be performed, appreciated, and remembered. Bibliography [1] A. G. Piotrowska. “Józef Wieniawski (1837-1912) and His Works Composed in Brussels.” Revue Belge De Musicologie / Belgisch Tijdschrift Voor Muziekwetenschap, vol. 60, 2006, pp. 85–97. [2] Petite chronique. “L’Art Moderne“ 1886, nr 8, p. 61. [3] K. Rzepecki. “Recepcja twórczości Józefa Wieniawskiego w świetle XIX-wiecznego piśmiennictwa – przegląd źródeł.” Kwartalnik Młodych Muzykologów. UJ. pp. 105–139, 01 2020. [4] K. Rzepecki. Józef Wieniawski (1837-1912) – epoka, człowiek i dzieło. Doctoral Dissertation. The John Paul Catholic University of Lublin. 2019.