Ravinia 2019, Issue 7, Week 14

territory with piano-led ensembles. However, Beethoven steadily liberated himself from his chosen instrument with the op. 3 string trio and in subsequent compositions for string and wind ensembles. The manuscript of the Serenade for Flute, Violin, and Viola in D major, op. 25, no longer survives. Scholars have proposed various compositional dates, from 1795/96 to 1801. In 1802, Beethoven offered publication rights to Giovanni Cappi, who had recently founded his business in Vi- enna. Pirated arrangements of the Serenade for assorted utilitarian instrumental groupings ap- peared throughout Germany and Austria within the year: guitar, violin, and viola; flute or violin and piano; voice and piano; and solo piano. Beethoven included seven movements in the Serenade, alternating slow or moderate tem- pos with fast pieces. The processional Entrata is followed by a Menuetto with two trios, the first without flute and the second accompanied by pizzicato viola. Flute imitates violin in the Alle- gro molto . In the fourth movement, Beethoven invented three variations on an original theme. Dotted rhythmic patterns energize the Allegro scherzando e vivace (long–short) and the Allegro vivace e dis in volto (short–long) finale. Between these two movements is an Adagio built on three-part imitation. JOSEPH HAYDN (1732–1809) Trio No. 1 in C major, H. IV:1 (“London”) Haydn spent two concert seasons in London at the invitation of German violinist and impre- sario Johann Peter Salomon. His most familiar productions for the London audiences were 12 symphonies (nos. 93–104), written specifically for Salomon’s concerts, and the opp. 71 and 74 string quartets (H. III:69–74), which, though composed in Vienna between visits, might have been intended for public performance in London. Less well-known are the occasional pieces that Haydn created for private and social settings. Such is the case with the trios for two flutes and cello composed during his second visit. Haydn’s London notebook contains the follow- ing brief entry: “On 14th Nov. 1794, I went with Lord Avindon [Abingdon] to Preston, 20 miles from London, to visit the Baron Aston; he and his wife love music.” Willoughby Bertie, Fourth Earl of Abingdon (1740–99) enjoyed close asso- ciations with the preeminent musicians active in London, including Carl Friedrich Abel, Johann Christian Bach, and André Grétry, and was him- self a composer of more than 120 works. Lord Abingdon accompanied his esteemed guest to the country estate of Walter Aston, Eighth Lord Aston of Forfar (1732–1805). Before succeeding to the barony in 1763, Lord Aston worked as a watchmaker. He married Anne Hutchinson on May 28, 1766, and was generally considered “an inoffensive man of a rather convivial turn,” ac- cording to The Gentleman’s Magazine . As a gift to Lord Abingdon and Lord Aston, Haydn presented each a trio for two flutes and cello, presumably for their own performance and amusement. These scores came into the hands of Teobaldo Monzani, an accomplished flute player, composer, instrument maker, and music publisher, who printed the trios in 1799. Entitled “divertimenti” in Haydn’s personal Cat- alogue of Works Composed in England , these tri- os were joined by two others at a later date and in separate manuscripts. Trio No. 1 in C major, H. IV:1, contains three movements, which is typical of Haydn’s diver- timenti. The Allegro moderato adopts a light- hearted character, intended more for the salon than the concert hall. Haydn left two versions of the Andante in manuscript, one longer than the other and each distinguished by a different rhythmic profile. Monzani published a longer version of this movement combining aspects of each source. The frolicsome Finale contains an unexpected digression into a minor key before returning to the cheerful refrain. WOLFGANG AMADEUS MOZART (1756–91) Flute Quartet No. 1 in D major, K. 285 Young Mozart traveled throughout Europe during the 1770s, hoping to secure a permanent appointment at an important musical center. His status in his native Salzburg was tenuous at best. Frequently at odds with Archbishop Col- loredo, Mozart petitioned for release from em- ployment in 1777, but the archbishop countered with a threat to discharge both Mozart and his father. His numerous attempts to join the im- perial court in Vienna also were fruitless. Real- izing that his local opportunities were limited, Mozart and his mother set out again to explore his prospects in Munich, Augsburg, Mannheim, and Paris. Mozart arrived in Mannheim, a thriving cen- ter of instrumental composition, in October 1777. The elector Carl Theodor had assembled an orchestra famous throughout Europe for its precision and virtuosity. Most court musicians were accomplished performers as well as skilled composers. Mozart was almost certain that his skills as violinist, pianist, and composer would be welcomed. However, after a month’s stay, the elector informed him that there were no open- ings. With winter approaching, Mozart decided to remain in Mannheim to teach and compose. A local flutist, Johann Baptist Wendling, passed on a 200 gulden commission from a wealthy Dutchman, Ferdinand Dejean, who lived in Mannheim. Dejean was a doctor and amateur flutist working for the United East India Trad- ing Company in Asia. His generous commission provided necessary support for Mozart’s extend- ed stay in Mannheim. Work progressed rapidly at first, as Mozart completed the first work—the Flute Quartet in D major, K. 285—on December 25. However, composition soon became more difficult. By the time Dejean left Mannheim on February 14, 1778, Mozart had completed two concertos and three quartets, for which he was given only 96 gulden. Some difficulty may have resulted from Ludwig van Beethoven by Carl Traugott Riedel (1801) Joseph Haydn by Thomas Hardy (1791) Wolfgang Amadeus Mozart by Joseph Lange (1789) SEPTEMBER 3 – SEPTEMBER 15, 2019 | RAVINIA MAGAZINE 103