Haydn finds the pianoforte so completely capable of expressing his meaning that he is at a loss to find independent material for any accompanying instruments; and the violoncello in his trios has, except perhaps in four passages in the whole collection of thirty-three works, not a note to play that is not already in the bass of the pianoforte; while the melodies of the violin are, more often than not, doubled in the treble.
His trios were, indeed, published under the title of "pianoforte sonatas with accompaniment of violin and violoncello"; but this in no way militates against the above remarks as to their proper method of performance nowadays, when we take into consideration the greater strength of tone of the modern pianoforte, especially in the bass, and the fact that in no case could a violinist consent to play as an accompaniment such melodies as that at the beginning of the G major trio known as No.
Haydn's numerous examples of independent violoncello melodies are almost all either marked solo or written for such small orchestras that they would be played as solos.
Of considerable merit are also the sacred lyrical melodies of Paul Radai in his Lelki hodolds (Spiritual Homage), published at Debreczen in 1715.
The clearest point is that a number of the psalms were originally at least set to melodies named after songs,' and that one of these songs beginning m=1-'7:I (Al-tashith in E.
How would you define melodies? Add your definition here.