Joseph Haydn (1732–1809) Trio in F major Hob IV: F 2
Sonata à tre arranged by Philippe Meunier [guit,vl,vc]
original scoring lte,vl,vc
20 pages | 23 x 30,5 cm | 93 g | ISMN: 979-0-004-16956-8 | Softcover
In contrast to Haydn’s other known Jute works, the trio in F major exists, as far as we know, only in the one version, for the combination of lute, obbligato violin and hass. The quartet in D major for lute, violin, viola and violoncello (Hoboken III:8) and the cassation in C major for obbligato lute, violin and violoncello are, in fact, arrangements of string quartets whose first violin parts have been transcribed for lute. In the trio in F, the lute – when it is playing with the violin – doubles the hass, as it does in the quartet and the cassation. But in all these cases, including the duos and trios mentioned by Hoboken, but which have been lost, the authenticiry of these works is a matter of dispute.
Were they conceived for the lute by Haydn? Or did he arrange them for lute himself? That ist not very probable: the manuscripts are copies, which were quite obviously written by musicians with an exact knowledge of the lute and of tablature notation. lt is not to be expectes that a solution to the problem will soon be arrived at; but this becomes unimportant in a performance in which players come together and enjoy the by no means everyday harmonies.
lt is always difficult to transcribe a score originally written for Baroque lute for the guitar. Quite apart from the fact that the key does not always suit the new instrument (in the present case it was possible to retain the F major of the original), the sound effects appropriate to the lute do not always lie well on the guitar, which is tuned quite differently from the lute. In the present case, the problem arises above all in the hass register. lt is indeed the case that the lute doubles the bass, but mostly at the lower octave. Since the guitar is not equipped with sufficient low strings, the bass had frequently to be transposed up an octave.