Beethoven: Piano Trio No. Usually despatched in 2 - 3 working days.
Allegro assai. Mozart: Trio in G Major K. Variation 1. Variation 2. Variation 3. Variation 4. Variation 5. Variation 6. Mozart: Trio in B flat Major K. Mozart: Piano Trio No. Andante grazioso. Andante cantabile. Thema Andante.
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Show 6 remaining tracks for Mozart: Piano Trio No. Adagio cantabile. Scherzo Allegro assai. Finale Presto. Allegro con brio.
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Andante cantabile con Variazioni. Menuetto Quasi Allegro. Finale Prestissimo. Adagio - Allegro vivace. Largo con espressione. Scherzo Allegro. But in the Piano Trio in C minor, Op 1 No 3 , it erupted in a work of startling explosive vehemence and dark lyric beauty. Haydn, recently returned from his second triumphant London visit, warmly praised the E flat and G major trios.
But he suggested that the third trio, in C minor, would not be easily understood by the Viennese public—a well-intentioned remark that the ever-touchy Beethoven put down to envy on the part of his former teacher.
But the music is profoundly Beethovenian in its abrupt, extreme contrasts, with violent rhetoric the first page alone is peppered with sforzando accents alternating with intense pathos and yearning lyricism. The exposition ranges restlessly across an exceptionally wide tonal spectrum—E flat minor in the stormy transition, then A flat minor and E flat minor, again, in the second of the two second subject themes.
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There is a thrilling moment at the start of the development where the original pianissimo echo of the main theme a step higher now moves a semitone lower, spiriting the music to a strange new tonal region C flat major, enharmonically spelled as B major. Typically of Beethoven, the quiet opening phrase is reinterpreted as a strenuous fortissimo at the start of the recapitulation.
But there are plenty of inventive, authentically Beethovenian moments: the boisterous third variation, with its brusque sforzando accents and twanging string pizzicatos; the fourth, in E flat minor, with its plangent cello solo; or the coda, initiated by a rich chromatic reharmonization of the theme. The third movement, somewhere between a minuet and a scherzo, returns to the C minor world of the first movement, with its restless pathos, irregular phrase lengths and explosive dynamic contrasts. In the recapitulation the second theme, enriched with a new cello counterpoint, turns from C major to C minor, with deeply pathetic effect.
The astonishing coda, held down to pianissimo for virtually all of its eighty-seven bars, slips mysteriously to B minor and then moves, via C minor and F minor, to C major.
But the ending is uneasy and equivocal, with minimal sense of resolution the recent memory of F minor is too strong for that , let alone of major-keyed optimism. The Trio in B flat major, Op 11 , started life in the winter of —8 as a trio for the rare combination of clarinet, cello and piano. But with an eye on maximizing sales, Beethoven published it in an alternative version for orthodox piano trio, transferring the clarinet part, with minimal adjustments, to the violin.
Compared with the ambitious Op 1 trios, this B flat trio, in three movements only, is a work of relaxation, showing the composer in genial, urbane mode.
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Or so it sounds to us. The expansive opening Allegro con brio, with its arresting unison opening, has little of the dialectical urgency of the first movements of the Op 1 trios. But Beethoven being Beethoven, there are many arresting and piquant touches.
After an emphatic close in the dominant F major , for instance, the music is slyly deflected through D major and G minor before the expected second subject a gracious, dolce tune, rhythmically related to the first finally emerges. In fact, these nine variations are among the most inventive in early Beethoven. Highlights are the spare-textured No 2 for violin and cello alone, the two free variations in the tonic minor Nos 4 and 7 and the trenchantly polyphonic final variation, which then pivots the music from B flat to G major for the start of the witty syncopated coda.
With the Variations in E flat major, Op 44 , Beethoven responded to the contemporary fashion for sets of variations on popular themes from operas. The work was probably finished by the time the composer left Bonn a brief sketch dated survives , though it did not appear in print until —hence the misleadingly high opus number. On it Beethoven builds fourteen variations, decorative in the eighteenth-century tradition the theme is always easily recognizable , but entertainingly contrasted in spirit and texture.
The lusty, syncopated tenth variation, for instance, is followed by an almost exaggeratedly demure dialogue for the strings, while the delicately tripping twelfth is disrupted by an uncouth fortissimo outburst—Beethoven gleefully sticking out his tongue at rococo decorum. Beethoven had announced himself to the wider musical world in with his three piano trios Op 1. Both Op 70 trios were sketched and composed with comparative ease. The D major was finished around the end of September, the E flat a month later. They were published in the spring of with a dedication to the Countess, though by then Beethoven, true to form, had stormed out of her home after a violent quarrel over a servant.
In the Op 1 trios Beethoven had already given the two string instruments more of the limelight than they had enjoyed in the keyboard-dominated trios of Mozart and Haydn. But with the Op 70 trios their emancipation is complete. The three instruments now discourse as equals in kaleidoscopically varied textures, rich in the free contrapuntal interplay that is one of the glories of the Viennese classical style. The weirdly fragmented thematic material, unstable harmonies and sombre, quasi-orchestral textures, with eerie tremolos in the bowels of the keyboard, combine to produce music of extraordinary tension and Gothic gloom.
The finale restores us to a world of convivial normality, with its supple, gracious themes and crystalline textures. Even more surprising is the reappearance of the first part of the introduction, in its original slow tempo, in the coda. The connection between the two works carries over into their not-so-slow second movements.
Both are cast as a set of double variations on two alternating and related themes, one in C minor, the other in C major. Haydn begins in C minor and ends in C major. And it left a profound effect on the younger composer in a piece like the A flat Impromptu, D No 2. Could it be that Beethoven, who had made peace with the now frail old man at a performance of The Creation in March , consciously or unconsciously conceived the whole trio as a homage to his former teacher?
In keeping with the whole trio, the movement shows a fondness for relationships between keys a third apart: the gloriously exuberant second group of themes is in G major rather than the orthodox B flat, and is later recapitulated in C major. This prolonged emphasis on C major demands a long coda affirming the tonic, E flat.
But what Beethoven gives us is not so much a coda as a second, varied, recapitulation that brings back all the themes in reverse order, then subsides to a quizzical pianissimo before generating a rousing send-off from the opening scales. The serene, Apollonian tone of the Allegro moderato is set by the glorious opening theme, with its broad harmonic motion and mingled grandeur and tenderness. In the development Beethoven takes each phrase of the main theme as a cue for calm dialogues between violin and cello, or strings and piano.