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Haydn, Joseph. (1732–1809). TRE SONATE Per il Clavicembalo o Forte-Piano con un Violino e Violoncello...Opera 57. [Hoboken XV: 11-13]. Vienna: Artaria. [1789]. First edition. Oblong folio. Parts: 36, 11, 8 pp. Engraved throughout. [PN] 239. Hoboken Bnd I, p. 694. Rare. Worldcat records only the copy in The British Library. In contemporary marbled paper boards, handwritten title plate affixed to front with an early ownership signature "S. Lindenthal," scattered markings in pencil in each part, mostly in the keyboard part.

One of the earlier sets of the composer's thirty Piano Trios, these three being lively, eloquent and innovative works. The first of this grouping in particular won contemporary praise for its increased technical challenges and subtle interplay between strings and piano. The composition of these works also helped the composer purchase a new keyboard. "In 1788, in anticipation of a substantial fee for the composition of three piano trios (Hob. XV: 11-13), Haydn ordered a new piano from Schantz and asked Artaria to pay the maker directly, commenting breezily 'Please excuse the liberty: it is bestowed on a man who is grateful.'" (David Wyn Jones, "The Life of Haydn," p. 107-108)

Haydn, Joseph. (1732–1809) TRE SONATE Per il Clavicembalo o Forte-Piano con un Violino e Violoncello...Opera 57. [Hoboken XV: 11-13]

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Haydn, Joseph. (1732–1809). TRE SONATE Per il Clavicembalo o Forte-Piano con un Violino e Violoncello...Opera 57. [Hoboken XV: 11-13]. Vienna: Artaria. [1789]. First edition. Oblong folio. Parts: 36, 11, 8 pp. Engraved throughout. [PN] 239. Hoboken Bnd I, p. 694. Rare. Worldcat records only the copy in The British Library. In contemporary marbled paper boards, handwritten title plate affixed to front with an early ownership signature "S. Lindenthal," scattered markings in pencil in each part, mostly in the keyboard part.

One of the earlier sets of the composer's thirty Piano Trios, these three being lively, eloquent and innovative works. The first of this grouping in particular won contemporary praise for its increased technical challenges and subtle interplay between strings and piano. The composition of these works also helped the composer purchase a new keyboard. "In 1788, in anticipation of a substantial fee for the composition of three piano trios (Hob. XV: 11-13), Haydn ordered a new piano from Schantz and asked Artaria to pay the maker directly, commenting breezily 'Please excuse the liberty: it is bestowed on a man who is grateful.'" (David Wyn Jones, "The Life of Haydn," p. 107-108)