Conducted by CHARLES LEGGETT
DALE SMITH (Baritone)
by MILDRED DILLING
ALL SAINTS', HOVE, PARISH CHURCH
Order of Service :
Psalm 121 (27th morning) Lesson, St. John xvi Nunc Dimittis Apostles' Creed
' The Lord be with You'
The Lord's Prayer
Collect for Trinity 14
Prayers : (1) for peace ; (2) for aid against perils Anthem, He that shall endure to the End shall be saved (Elijah) (Mendelssohn)
Prayers from ' This Day '
Hymn, Praise,' my Soul, the King of Heaven
(Ancient and Modern, No. 298; English Hymnal, No. 470) (Songs of Praise, Enlarged Edition, No. 342)
Sermon by Canon F. J. MEYRICK , R.D., Vicar of Hove
(LateJy of St. Peter Mancroft , Norwich)
Hymn, He who would valiant be (English Hymnnal, No. 402)
(Daventry National Programme)
Canon F. J.
Weather Forecast, General News Bulletin
IDA NELSON (Violin); SARA NELSON (Violoncello);
FRANCESCO TICCIATI (Pianoforte)
SOFFI SCHONNING (Soprano)
MOZART wrote seven pianoforte trios and an eighth which is really only an arrangement from a pianoforte sonata for a trio combination. It is clear that Mozart did not take the pianoforte trio as seriously as he did his other chamber music, at least in the early stages of his career. The trios have the character of having been written for the moment and they are light in texture. This, at any rate, applies to the oarly ones. which were undoubtedly founded on those of Haydn, for Haydn treated the trio more as if it were a violin sonata witlf a 'cello part added to strengthen the bass of the pianoforte or clavier. At a later period, however, in which period he wrote the present trio, Mozart somewhat elaborated the form of his trio combination. There is, for example, an increase of virtuosity appearing in the piano part. There is more independence, too, in the 'cello part, which is used as a voice in the polyphonic treatment of the theme, rather than as an instrument merely to thicken the bass. This trio was written in 1786, in his maturist period.
OF these two arias from Mozart's opera, The
Marriage of Figaro, l'orgi amor is sung by the Countess at the beginning of the second act. She is musing upon her happy romantic past and her loveless present. The other song, Deh vieni non tardar, is sung by Suzanna towards the end of the opera. In it she tells of her great love for Figaro, the one sincere sentiment expressed in a perfect tanglo of intrigue.
THE instrumental trio, which included a keyed instrument, dates from early in the seventeenth century, when music in the home and at private entertainments began to attract the interest of well-to-do families who could afford this cultured amusement. The instruments employed in these early trios were usually a viol, a viola da gamba, and the harpsichord, the viola da gamba being used merely to strengthen the bass notes of the harpsichord. With Haydn, however, who wrote in all thirty-five trios,the pianoforte came into use. and where strings were employed they were the violin and 'cello. He established the form of the trio and considerably advanced the technique of the several instruments. But for the most part his trios are litt,le more than sonatas for violin and piano, the 'cello part merely doubting the bass of the piano. But the trio in its present form undoubtedly originates with Haydn, and it is to the school that he founded that all the trios have since been written, from those of Mozart, through Brahms, to those of our own day.
DEETHOVEN'S first publication, at the age of twenty-five; was a set of three pianoforte trios known as Opus 1, of which this is the third. Beethoven himself must have thought well of it, for in 1819, twenty-four years later, he made out of this trio a string quintet for two violins, two violas and 'cello, calling the new arrangement Opus 104. ' I should like you to see,' he writes to Ferdinand Ries , 'the two enclosed works..... Taken to a publisher in London, they would sell easily for perhaps fifty ducats in gold.' One of these works was the quintet arrangement, but.in point of fact there is some doubt as to whether the arrangement has reached London at all, at any rate so far as a public performance is concerned. Mr. W. W. Cobbott, who should know if anybody does, stated definitely a year or two ago that certainly in London the quintet had not then been performed here.