by Layne Anspach
This month, Chamber Music Corner will examine a well-known work from the horn trio repertoire: Lennox Berkeley’s Trio, Op. 44, for violin, horn, and piano. Sir Lennox Berkeley (1903-1989) was an English composer and professor. At the suggestion of Ravel, Berkeley traveled to Paris to study with Nadia Boulanger. He was appointed professor of composition at the Royal Academy of Music in 1946 and served until 1968. Berkeley’s compositional output runs the gamut of genres: operas, ballets, and film scores; orchestral, vocal, and chamber music, as well as solo works. To preserve his legacy, the Lennox Berkeley Society was founded in 2000.
Op. 44 was commissioned by pianist Colin Horsley for Dennis Brain. The two, along with violinist Manoug Parikian, premiered the work at the Victoria and Albert Museum in March 1954. The first movement, Allegro, opens with a series of ascending fourths, played first by the horn and followed by the violin. The second theme is presented by the violin with horn support. Piano takes over the second theme, maintaining the calm demeanor that characterizes the section. The development starts with a clear statement of a countermelody to the first theme by the violin. Horn and violin trade time with the piano during the development but complete the section together with increasing intensity. The return of the opening sees the horn and piano exchange parts, with the piano now presenting the rising fourth motif. After the climax of the movement, un poco piu lento follows, leading the listener to a soft, tranquil conclusion.
The second movement, Lento, is made up of two melodic sections. The opening slowly unfolds with a repeated two-measure figure in the piano. The violin enters with sustained notes, increasing in intensity, which are passed to the horn. The second section is moved along by the piano with horn and violin joining to add color and rhythmic interest. After an anticipated climax, the section withdraws and returns to a modified version of the opening theme, not fully presented before slipping into a truncation of the second theme. The movement ends with an ominous yet quiet coda.
A theme and variations completes the piece, although this movement accounts for half of the total work. There are ten variations: I. Allegro vivace; II. Allegretto; III. Lento; IV. Vivace; V. Andante; VI. Moderato; VII. Adagio; VIII. Moderato; IX. Allegro vivo; X. Moderato. As in many such movements, the third variation provides the most noticeable alteration of the theme. The overall pace is varied and includes a few attacca transitions between variations. To highlight a couple of the variations: Variation V starts with horn and violin in a delightful dance until the piano interrupts. Variation VII, a long cantabile Adagio, is a stunning presentation of horn and violin melody. Variation IX, a quick gigue, hurtles directly into Variation X which concludes the movement with a comparatively subdued presentation of the theme.
The reference recording is from the album Berkeley, Brahms & Leshnoff: Horn Trios (Naxos). The hornist is David Alan Cooper.
