Haydn’s Gypsy Trio
In 1795 Haydn composed a set of three piano trios. The no. 39 in G Major, the second in the set, has come to be one of his most well-known works of the genre. It is sometimes nicknamed the "Gypsy" because of its Rondo finale in 'Hungarian' style.
Haydn dedicated the set of three piano trios to his student Rebecca Schroeter, a pianist whom he formed a close friendship with during his time in London. Soon after his first arrival in London, Haydn received a letter from Schroeter seeking his services as a teacher. Schroeter was a widow in her 40’s and quite a bit younger than Haydn who was 58 at the time.
She wrote him 22 letters over the course of their friendship, sent gifts, and even copied music for him. Haydn was not only flattered, but admitted to equal interest in his student. He made the statement to his first biographer: “Though I was 60 years old, she was still loving and amiable, and in all likelihood I would have married her if I had been single.” Upon his second sojourn in London in 1794, Haydn stayed in rooms near Mrs. Schroeter’s home, an arrangement that one might imagine was to their mutual satisfaction. It was during this visit that he dedicated the three piano trios to her.
The first movement of the trio is a lovely pleasing theme and variations, each alternating with one in minor mode. This is followed by a Poco adagio in E-flat major. The finale of the work, from which the work gained its nickname, is entitled Presto Rondo all’Ongarese (Rondo in the Gypsy style) and is a dazzling moto perpetuo alternating with gypsy dance-like sections. This is one of the earliest known examples of what is called ‘style hongrois’ - or the representation of Hungarian Gypsy (‘Romungro’) music in classical music. As discussed in previous posts, Haydn must have been familiar with Hungarian Gypsy music thanks to his posting with the Esterházy family in the centre of Hungarian territory. But to the English audiences and amateur musicians of the time who might have listened or played the work in their private salons, it must have been a fantastic awakening to the folk music of the day.
Things to listen for:
First movement - opening. Haydn states the lovely opening theme with the violin. Notice how he shadows the violin with the piano part. This is then ‘answered’ with short comments from the cello. The violin though remains the ear’s focus throughout.
Listen to the opening of the last movement [11:01] - The first ‘melody’ you hear is the Rondo theme. In this type of movement, the theme is traditionally interspersed with another ‘different’ section of contrasting material. Notice how Haydn presents the Rondo theme first in the piano and then repeats it in the violin and finally with the violin and piano both playing it. This kind of rapid and relentless semiquaver writing is known as a ‘moto perpetuo’.
At [11:43] we hear the first contrasting section where the Gypsy elements of the movement become more apparent. Notice how Haydn begins to move towards more ‘rustic’ themes by introducing strong accents on certain crucial punctuating notes.
By [12:10] we are really getting the full-blown Gypsy effects. Haydn switches to a minor mode and uses a whole range of tools such as pizzicato, accents and offbeat rhythms to capture the Hungarian folk style.
LISTEN HERE
Recording: Trio Wanderer for Harmonia Mundi