HAYDN'S BARYTON TRIOS AND THE ‘GRADUS’

Abstract

Fux's 'Gradus ad Parnassum' formed a basic part of the musical education of most Viennese composers in the eighteenth century, and instances of their incorporation of its strict style into instrumental music are clearly visible. While it would hardly be practicable to embark upon an investigation of every such instance, we can learn a great deal by examining the influence of the 'Gradus' on one of the greatest composers among those known to have studied from itJoseph Haydn. Some effects of Haydn's studies from the 'Gradus' have already been discussed by Professor Arnold.' His article is based mainly on symphonies, referring also to some trio-sonatas and to the string quartets, Op. 20: the baryton trios are not mentioned. In Strunk's study of the baryton trios2 no reference is made to the close association of their fugal finales with Fux's stylus antiquus.3 Yet these movements are notable in containing a greater concentration of 'Gradus'-style counterpoint than we find in any other instrumental genre cultivated by Haydn. They will serve to illustrate in some detail the relationship between Fux's strict style and Viennese Classical instrumental music. Professor Arnold lists in his article some stylistic features characterizing the strict counterpoint passages in Haydn's early works, and as these apply also to the baryton-trio fugues, it may be as well to summarize them here before discussing the fugues in more detail. One typical feature is a cantusfirmus in one part in long, even notes. The counterpoint to this is usually clearly related to Fux's species, especially to the third or fourth. There is generally a careful treatment of dissonance. These characteristics are liable to modification and decoration-for example by rhythmic means, disguising the orthodox species-construction. Haydn's use of such stylistic elements in some of his baryton-trio finales presents a particularly conspicuous contrast with the light, predominantly homophonic manner in which the other finales are composed, as this selection of opening passages illustrates: