海顿的钢琴三重奏

海顿的三重奏中,键盘乐器是占主导地位的, 而大提琴的从属地位尤其明显, 回复古钢琴后, 小提琴声部得到了突出, 与键盘乐器更般配, 也许这就是海顿早期作品的本来面目(接近巴赫和亨德尔了)。

This is a list of piano trios by Joseph Haydn, including the chronological number assigned by H. C. Robbins Landon and the number they are given in Anthony van Hoboken's catalogue of his works.

Haydn's early trios are considered minor works and are seldom played except in the context of complete editions. In contrast, the later trios, starting in the mid-1780s, reflect the composer's full musical maturity and are greatly admired by critics.

The role of the instruments

The piano trios of Haydn are dominated by the piano part. The violin only plays the melody a certain amount of the time, and is often doubled by the piano when it does. The cello part is very much subordinated, usually just doubling the bass line in the piano. Charles Rosen discusses and defends this asymmetry, relating it to the sonority of the instruments of Haydn's day: the piano was fairly weak and "tinkling" in tone, and benefited from the tonal strengthening of other instruments.

Assessment

The dominance of the piano part does not imply that the late trios are not of the highest quality. Rosen devotes an entire chapter of his well-known book The Classical Style to them,noting that Haydn's trios are "along with the Mozart concertos the most brilliant piano works before Beethoven."[3] Gretchen Wheelock refers to the trios as "incredible", adding "the late works especially are brilliantly virtuosic, exploiting the full idiomatic range of the instrument [i.e., the piano]. They are also among the most harmonically adventurous of his works in any genre, often reaching into remote keys via enharmonic modulations. As such they are challenging essays for both players and listeners."

Early trios

No. 1 in F major, Hoboken 15/37 (composed by 1766; possibly dating as far back as 1760)
No. 2 in C major, Hoboken 15/C1 (composed by 1766; possibly dating as far back as 1760)
No. 3 in G major, Hoboken 14/6 (composed by 1767)
No. 4 in F major, Hoboken 15/39 (composed by 1767)
No. 5 in G minor, Hoboken 15/1 (composed by 1766; possibly dating as far back as ca. 1760-62)
No. 6 in F major, Hoboken 15/40 (exists with a different slow movement as the piano concerto Hob. 18/7) (composed by 1766; possibly dating as far back as ca. 1760)
No. 7 in G major, Hoboken 15/41 (composed by 1767; possibly dating as far back as 1760)
No. 8 in D major, Hoboken 15/33 (lost) (composed by 1771; possibly dating as far back as 1760)
No. 9 in D major, Hoboken 15/D1 (lost) (composed by 1771)
No. 10 in A major, Hoboken 15/35 (composed by 1771; possibly dating as far back as ca. 1764-65)
No. 11 in E major, Hoboken 15/34 (composed by 1771; possibly dating as far back as 1760)
No. 12 in E flat major, Hoboken 15/36 (composed by 1774; possibly dating as far back as 1760)
No. 13 in B flat major, Hoboken 15/38 (composed by 1769; possibly dating as far back as 1760)
No. 14 in F minor, Hoboken 15/f1 (composed by 1760)
No. 15 in D major, Hoboken 15/deest
No. 16 in C major, Hoboken 14/C1 (composed by 1766; possibly dating as far back as 1760)
No. 17 in F major, Hoboken 15/2 (possibly composed in ca. 1767-71)

Later trios

No. 18 in G major, Hoboken 15/5 (1784)
No. 19 in F major, Hoboken 15/6 (1784)
No. 20 in D major, Hoboken 15/7 (1784)
No. 21 in B flat major, Hoboken 15/8 (1784)
No. 22 in A major, Hoboken 15/9 (1785)
No. 23 in E flat major, Hoboken 15/10 (1785)
No. 24 in E flat major, Hoboken 15/11 (1788)
No. 25 in E minor, Hoboken 15/12 (1788)
No. 26 in C minor, Hoboken 15/13 (1789)
No. 27 in A flat major, Hoboken 15/14 (1790)
No. 28 in D major, Hoboken 15/16 (1790)
No. 29 in G major, Hoboken 15/15 (1790)
No. 30 in F major, Hoboken 15/17 (1790)
No. 31 in G major, Hoboken 15/32 (1792)

Three trios (H. 18–20) dedicated to Princess Maria Anna, wife of Prince Anton Esterházy:

No. 32 in A major, Hoboken 15/18 (1793)
No. 33 in G minor, Hoboken 15/19 (1793)
No. 34 in B flat major, Hoboken 15/20 (1794)

Three trios (H. 21–23) dedicated to Princess Maria Josepha, wife of Prince Nicholas Esterházy:

No. 35 in C major, Hoboken 15/21 (1794)
No. 36 in E flat major, Hoboken 15/22 (1794)
No. 37 in D minor, Hoboken 15/23 (1794)

Three trios (H. 24–26) dedicated to Rebecca Schroeter:

No. 38 in D major, Hoboken 15/24 (1795)
No. 39 in G major, Hoboken 15/25 (1795) "Gypsy"
No. 40 in F sharp minor, Hoboken 15/26 (1795)

Two stand-alone trios (H. 31,30):

No. 41 in E flat minor, Hoboken 15/31 (1797)
No. 42 in E flat major, Hoboken 15/30 (1797)

Three trios (H. 27–29) "Bartolozzi Trios" dedicated to Theresa Jansen (Bartolozzi):

No. 43 in C major, Hoboken 15/27 (1797)
No. 44 in E major, Hoboken 15/28 (1797)
No. 45 in E flat major, Hoboken 15/29 (1797)

钢琴三重奏：为沙龙而生

海顿的时代，夜已开始显长，而资产阶级乃至上等人可选的体面消遣并不多。与朋友同乐的方式中，在家一起演奏室内乐是最受欢迎的一种。那时候，学弹钢琴是淑女教育中很重的一个要素，她们常在茶间饭后为亲友歌唱时给自己伴奏。女性还可以操持刺绣或谈话的艺术。绅士除了骑马、击剑、玩牌、向女士献殷勤之外，还可以选择用小提琴、长笛或大提琴为女士的音乐活动助兴。结果，钢琴加上小提琴或长笛，还有大提琴，不少曲子应运而生，称为“有伴奏的键盘奏鸣曲”。如今，它们被误称为“小提琴奏鸣曲”、“长笛奏鸣曲”或“大提琴奏鸣曲”。遵循这一传统，海顿和莫扎特早期为钢琴与弦乐而作的室内乐，都是以弦乐伴奏钢琴。重要的音乐史家曾经责备过海顿三重奏的不成熟。比如，托维爵士(Sir Donald Francis Tovey)批评海顿“奇怪地难以自制，总把其他乐器要说的东西写在钢琴声部里”。在现代的音乐生活中，不让小提琴、大提琴独立发挥是缺点，托维的评论就是例证。于是，海顿早期的三重奏如今很少演奏，即便恢宏如晚期的伦敦三重奏，当今也少有三重奏组在现代钢琴上探访。

织体与音色

读者可能会诧异，为何海顿总让大提琴double(中文术语是?)钢琴的低音部，又如此频繁地让小提琴与钢琴右手齐奏(unison)，一个明显的例证便是作品Hob. XV/9，a小调。前文提到的传统，很大程度上造就了这种看来浅薄的作曲法。然而，18世纪晚期的古钢琴本身也是一个因素：钢琴偏弱的低音可由大提琴加强，而原本优美而透明的高音，加进小提琴后更加如歌。此外，当时提琴手使用的羊肠线，与古钢琴的音色如此合契，使声音的水乳交融自然而简单。用这样相配的乐器组合，此前难以想象的织体和音色变得可能。

事实上，海顿是这种合奏音色的大行家。他在慢乐章和小步舞曲-三重奏里，创造了不少神妙的瞬间，如阿尔贝蒂式的分解和弦(Alberti bass，海顿和莫扎特都常用)在低音区衬着小提琴拨弦，营造出透明而吹弹得破的氛围(作品Hob. XV/1，g小调);又如小提琴与钢琴右手回环着编织同一支旋律(hocket，中世纪出现的作曲技术，旋律在两个声部间轮换奏出，如作品 Hob. XV/f1， f小调或Hob. XV/34， E大调)。三首长笛三重奏(Hob. XV/15-17)展示了海顿对长笛声音特质的把握，以及对它为键盘“伴奏”可能性的探索。尽管乐曲标题说明也可由小提琴演奏，海顿写的音乐非常适合长笛，而且决不浅薄。应该提一句，当年的木质长笛远不如今天的金属长笛亮，与古钢琴交融得很好。

1791年到1795年间，海顿两次长时间访问伦敦，在那里他的声望达到顶峰。从至今盛演不衰的伦敦时期作品来看，当时他的创作状态也达到了顶峰。岛国的大都会让他邂逅了不少新鲜事物，包括与长期亲近的奥地利钢琴相当不同的英国琴。在伦敦，他也吸收了由克莱门蒂(Clementi)和杜萨克(Dussek)主导的英国古典乐风。与维也纳古典乐风相比，前者织体更丰厚，更趋于连奏(legato)，广泛采用踏板，而且更炫技(前提是作品受献人技术过关)：大把的三和弦、八度经过段、精巧的复调写作、钢琴音域极限的运用，等等。

海顿的第二次伦敦之旅产生了四组的三联三重奏，作品Hob. XV/18-29。这些乐曲中，创新层出不穷，定然是受了英国钢琴与演奏技巧的影响。我们不一一赘述，且举两处最突出的：作品 XV/20，降B大调的第一乐章，起始主题的左右手竟差四个八度;作品XV28 E大调的第一乐章，钢琴右手如吉他般弹拨，下面还有装饰音(grace notes)支撑，左手却要越跳跃越好(as staccato as possible)，由大小提琴拨着弦应和，简直象曼陀铃，三件乐器异乎寻常的组合，发出的乐声令人惊诧。

此时对于海顿，早期钢琴三重奏已成为历史。对三位演奏者的要求提高了，大提琴和小提琴有了自己独立的角色，而作品也由此跳出沙龙，进入公开音乐会的领域。凭视奏演出不再可行，必须是小有成就的音乐家，研读乐谱后再经过认真排练，才能保障合奏的成功。

三重奏还是钢琴小提琴奏鸣曲?

为什么海顿从不写小提琴奏鸣曲?我们知道的是，有两首三重奏是可以不用大提琴而演奏的：XV/31 降e小调和XV/32 G大调。

这两首中的第一首因一桩轶事而尤其出名。它和三重奏XV/27-29以及钢琴奏鸣曲XV/50-52都是海顿写给特蕾莎·扬森的。(Theresa Jansen)扬森是克莱门蒂的学生，18世纪末伦敦最好的钢琴家之一。它的第二乐章原是一首单乐章奏鸣曲，叫做“梦”。海顿后来又加上了第一乐章。 Dies，海顿的早期传记作者，如此解释梦乐章里高度炫技的小提琴声部：

在伦敦，海顿熟识了一位德国音乐爱好者，他在小提琴上的造诣已经接近名家，但却有一个坏毛病，在接近琴马的最高音区总要拉得更高些。海顿决定尝试帮他改掉这坏习惯，使他懂得拉琴要踏实。这位半吊子经常拜访琴技高超的扬森小姐，并为她伴奏。于是海顿悄悄地写了一首小提琴伴奏的钢琴奏鸣曲，名为“雅各的梦”，并托信任的人交给她，说是匿名作品。如他所料，扬森小姐迫不及待地和自己的搭档试奏这首看起来不难的曲子，结果半吊子先生在高音上堵住了。她意识到作曲家是想描绘雅各梦中所见的天梯，而她的搭档却在梯子上迟疑着上上下下，笨手笨脚，跌跌撞撞，禁不住大笑起来。狼狈的半吊子先生对匿名作曲家大发雷霆，说他根本不知道怎么为小提琴谱曲。五六个月后才发现原来作者是海顿，扬森小姐便送了件礼物给他。

看来，特蕾莎·扬森经常只伴着一把小提琴试她的奏鸣曲，没有大提琴不算问题。事实上，我个人以为，海顿的大多数三重奏可以同样处理。在音乐会上，必须有大提琴给相对孱弱的钢琴低音声部注入力量与色彩，辅助它与小提琴形成表现力上的平衡，并在整体音效里加强共鸣。但在合适的演奏条件下，几乎所有的三重奏都可以当作只有小提琴伴奏的奏鸣曲。