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Ludwig van Beethoven: The Complete Piano Trios (Vol. IV)

by Guarneri Trio Prague

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1.
Piano Trio No. 7 in B Flat Major, Op.97/1 "Archduke" : I. Allegro moderato 12:18
2.
Piano Trio No. 7 in B Flat Major, Op.97/1 "Archduke" : II. Scherzo. Allegro 06:02
3.
Piano Trio No. 7 in B Flat Major, Op.97/1 "Archduke" : III. Andante cantabile, ma però con moto 10:29
4.
Piano Trio No. 7 in B Flat Major, Op.97/1 "Archduke" : IV. Allegro moderato - Presto 06:52
5.
Piano Trio No. 8 in E Flat Major, WoO 38 : I. Allegro moderato 04:15
6.
Piano Trio No. 8 in E Flat Major, WoO 38 : II. Scherzo. Allegro ma non troppo 04:34
7.
Piano Trio No. 8 in E Flat Major, WoO 38 : III. Rondo. Allegretto 05:15
8.
Piano Trio No. 10 in E Flat Major, Op. 44 [Variations on an Original Theme] 11:46

about

In the domain of instrumental music, Beethoven contributed, genre by genre, to the evolution of the models proposed at the end of the 18th century by his predecessors: Haydn and Mozart, of course, but also personalities less well known today such as Carl Philipp Emanuel Bach and members of the second generation of the Mannheim School (Franzl, Stamitz, Toeschi, Richter, Holzbauer, Filtz, Wendling, Ramm...). The first really significant collections of trios were perhaps those published by CPE Bach in 1775-1776 under the title of Claviersonaten and which are explicitly for obbligato keyboard “with violin and cello accompaniment”. The keyboard trio is the natural successor to the Sonata a due of the Baroque era such as the sonatas for violin (or flute) and keyboard by J.S. Bach and Handel, rather than the trio sonata which, despite its name, requires four instruments. In Beethoven’s eleven trios, the keyboard occupies the main place, by the very nature of the instrument itself (pizzicato, then struck strings) and probably also due to the fact that Beethoven performed as a concert virtuoso on the piano on which he composed throughout his life. Anyway, the strings are far to be reduced to a simple accompaniment role. In three creative periods (1790-1795, 1809 and 1811), Beethoven took music for this formation from the status of ‘Baroque sonata’ to that of the enlarged instrumental sonata, then a sweeping four-movement chamber work, the keyboard instrument reserving a concertante role for itself, astonishing in its brilliance and power.
Taken overall, the Trio No. 7 in B flat major might be considered the synthesis and crowning achievement of Beethoven’s ‘second period’. We find the astonishing vitality and optimism of the 7th and 8th Symphonies which had just been completed, but these are tempered by a concern for the most intimate and tender lyricism. The entire work is somehow sustained, full of truly Olympian serenity and assurance, reaching a state of near bliss during the slow movement. The formal structure is of unprecedented density and breadth, in relation to the expansive, melodic nature of the thematic material. According to Anton Schindler’s diary, the Trio No. 8 WoO 38 was composed by Beethoven at the age of fifteen. We may doubt this information for stylistic reasons, it seems more likely that it was composed in the winter of 1790-1791 in Bonn. Published posthumously in 1830, it adheres to a traditional three movement construction; the central Scherzo is a minuet and trio. Even though the independence of the violin and cello parts establishes a satisfying sound balance, the musical content remains rather conventional, a few premises of the Piano Concerto No. 1 give the piano part some originality and youthful ardour. Published in January 1804, the Variations on an Original Theme Op. 44 go back to sketches dating from 1792. The intentionally simple theme serves as the basis for 14 brief ornamental variations, plays of arabesques whose delicacy of touch and invention are essentially left to the pianist’s initiative.

Awards: Choc of Le Monde de la Musique, Recommended by Classica, 5 of Diapasons

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released January 1, 1999

Guarneri Trio Prague (Ensemble)

Recorded in Domovina Studio, Prague, September 1-4, 1999

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Guarneri Trio Prague Paris, France

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