Classical Music | Music for Trio

Recorded on 04/13/2006, uploaded on 01/25/2009

Musician's or Publisher's Notes

Today, Carl Maria von Weber is perhaps best known for his contributions to the development of German opera, and his influence on Richard Wagner. However, he also produced several important works for wind instruments. His two concerti and a quintet for clarinet, composed for the clarinet virtuoso Heinrich Bärmann, and his Concerto for Bassoon remain staples of their respective repertoires, while his Concertino for Horn is popular with many horn players. In addition, Weber also contributed several works for the flute. Most of these are mere transcriptions of his violin sonatas. However, the Trio for Flute, Violoncello and Piano, op. 63, composed in 1819, is a substantial work in its own right. It is unclear why Weber chose to feature the flute in place of the violin; no prominent soloist was the recipient of the work as was the case with his clarinet and bassoon compositions. Instead, Philipp Jungh, Weber’s friend and doctor, was the work’s dedicatee.

In four movements, the Trio opens with a particularly Romantic principal theme in G minor, announced in partnership by the flute and cello over a pulsating accompaniment from the piano. The second theme in B-flat major, on the other hand, has a more graceful demeanor, but quickly gives way to a dramatic development section.  The music turns to the key of the parallel major as the second theme is reprised in the recapitulation. However, it is the elegiac first theme that concludes the movement. A Scherzo, in the same key, follows the stormy first movement. It begins with a burst of rhythmic energy that borrows somewhat from Beethoven, but then alternates with a lithe waltz tune that is most certainly pure Weber.

The Andante third movement is subtitled “Schäfers Klage,” or “Shephard’s Lament.”  In B-flat major, the flute sings a dreamy melody accompanied by delicate chords from the piano and cello. Following this solitary opening statement, the theme is embellished by the other instruments of the trio, eventually culminating in a brief solo passage for the flute that flirts with the minor mode before giving way to chromatically ambiguous chords for the piano. An altered statement of the theme, shortened and tempered with tones borrowed from the parallel minor, then closes the movement. The Finale, however, is lively and energetic. Returning to the tonic key, each instrument is given a chance to shine, and the piece comes to a close with a bright and cheerful coda in G major.      Joseph DuBose

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Trio, Op. 63            Carl Maria von Weber

Allegro moderato; Scherzo; Shepherd's Lament; Finale      

Carl Maria von Weber was born in Eutin, Germany in 1786.  A cousin of Mozart's wife, Constanze Weber, Carl was trained as a musician from an early age.  In 1817, Weber gained the position of Music Director at the prestigious Dresden Opera.  He began work on his masterpiece "Der Freischütz", now regarded as the first important Romantic German opera, in 1818.  It was the following summer that Weber completed this Trio in g minor.

The Trio is one of only four chamber works in Weber's entire output.  The year 1819 had been full of personal turmoil for Weber, including the death of his daughter. This is reflected in the dark, mournful opening of the first movement.  It develops into one of Weber's longest and most effective sonata forms.  The scherzo is a whirling waltz, similar to "Invitation to the Dance" that Weber was to compose immediately afterwards.  The third movement, "Shepherd's Lament" is a beautiful pastorale that predates the rest of the Trio by six years.  The finale showcases Weber's flair for drama.  After a recitative-like opening in the piano, the movement becomes a full-fledged opera in which each instrument is a virtuosic soloist.    Thomas Cuffari

Courtesy of International Music Foundation.