To me, this trio is a perfect encapsulation of the essence of Beethoven - at least in his early period. Very functional harmony as he is still in very much in the shadow of Mozart and Haydn but the occasional innovation in instrumentation. The music lives and breathes, it is so characterful without needing any words. You do not need an entire orchestra to give music meaning and emotion, just three players is enough :)
@@jimwinchester339 yes I suppose your right, although this of course predates Mendelssohn by some 30 years. I do hear parts of the octet in this though!
String Trio No. 1 in E-flat major, Op. 3 (1792-96) dedicated to the Countess of Browne I. Allegro con brio 00:00 II. Andante 11:49 III. Menuetto. Allegretto 17:03 IV. Adagio 20:51 V. Menuetto. Moderato 28:57 VI. Finale. Allegro 32:12
So brilliant. Even in the earliest operas of Beethoven you can hear the thematic power and development, which would flourish so majestically in his maturity. Thank you Maestro, as always
No doubt this masterpiece has a departing point from the secure haven of Mozart and Papa Haydn but the trip takes a complete original path as it dives into the depths of the human soul that Beethoven seemed to understand above all composers in the entire history of music. Although keeping the classical sonata framework, the music vibrates with a new pathos. Pain, joy, melancholy , hope, despair, all human feelings show up, be in a single sf note or a theme or even in harmonic effects.
When you mentioned "near perfect" that got my attention because I remembered a music critic and writer who declared there were two "perfect" works in existence for string trio Mozart's Divertmento K. 563 and the Schoenberg String Trio Op. 45. If I can find where that comment came from, I'll be back to you with it.
There's a lot of pianistic features in the writing of Beethoven's early works. For one, it's just convenient for a student/young composer to think of a piano when composing works for multiple voices. Two, Beethoven was both a pianist as well as a gifted improviser, so a lot of the harmonic voicing in these early works probably came most naturally to him when he was sitting at the piano.
@@tristanstefanovic Yes, you are right. I would like here to refer to an old book by Leibowitz (1951): The evolution of the music from Bach to Scheonberg". This book has been reedited, but perhaps not in ERnglish. Wrining about the Beethoven's violin Concerto op. 61 =, he notes thet some arpeggois are written on purpose in a quite pianistic manner (like the 'Alberti' bass), while arpeggating on the four strings as usual would have been much more brillant and actually easier to perform. Paganin is full of such arpeggios, but they are used within a high virtuoso writing.
@@leonhardeuler6811 Yes, you are fully right, but at leats as chamber music is concerned, for me, there is a subtle difference berween ' finding some pianistic festures" and "being very easily trnscribed to piano'. Even in the last Beethoven SQ's, (including the three Rasosumovski and op.96) these are some short sections which can easily be transcribed for piano, but they are not 'pianistic features" in them
@@kranichauswolfsburg705 That's the most famous, but there are many more. Vaughan-Williams piano quintet, hummel piano quintet, beethoven septet, dvorak string quintet 2, prokofiev quintet op 39, strauss till eulenspiegel einmal anders op 28, to name a few
Speaking as a bass player Meme Dreams, I feel your pain. I play bass with a mandolin and guitar group. Sometimes I have to try to play cello parts on my acoustic string bass. I have had to transpose a few of them to make it easier for me to play them. Since I play piano also, sometimes I am able to play that instrument instead of my bass. Also, last but not least, since Beethoven was my father's favorite de-composer, I am very familiar with most of his music because my father loved to listen to almost anything by Beethoven.
My cello teacher also tells me to ALWAYS practice with a metronome for the first few months it may seem like you are fighting it but as long as you put effort to play with it you'll get it. After that my teacher says you wont be able to play without one, hope it helped!! Good luck!
00:06 Allegro con brio
11:49 Andante
17:03 Minuetto, allegretto
20:51 Adagio
28:57 Minuetto,moderato
32:12 Finale, allegro
Geppo Gepp 😂😮
Thanks biati
To me, this trio is a perfect encapsulation of the essence of Beethoven - at least in his early period. Very functional harmony as he is still in very much in the shadow of Mozart and Haydn but the occasional innovation in instrumentation. The music lives and breathes, it is so characterful without needing any words. You do not need an entire orchestra to give music meaning and emotion, just three players is enough :)
In his piano music, one (good) player is enough.
@ this is true
Seems very Mendelssohn-ish, no? I'm still listening in the 1rst mvmt. Maybe I'll add more after hearing the rest. Maybe I'll delete this.
@@jimwinchester339 yes I suppose your right, although this of course predates Mendelssohn by some 30 years. I do hear parts of the octet in this though!
*you’re
I’ve always loved this work dearly. A jewel.
Nunca mais nasceu outro Beethoven.
E não envelhece sua primorosidade.
Imaginem como não tocavam aqueles músicos em sua época.
Wonderful!!!
Seriously, this is the most beautiful string trio I ever heard.
A worthy response to the Mozart divertimento certainly!
Of course it is !!! This is a torrent of sheer beauty ......
has mozart written all over it haha
Why?
@@eduardoguerraavila8329 u live?
String Trio No. 1 in E-flat major, Op. 3 (1792-96)
dedicated to the Countess of Browne
I. Allegro con brio 00:00
II. Andante 11:49
III. Menuetto. Allegretto 17:03
IV. Adagio 20:51
V. Menuetto. Moderato 28:57
VI. Finale. Allegro 32:12
Thank you Aurelio for the breakdown.
So brilliant. Even in the earliest operas of Beethoven you can hear the thematic power and development, which would flourish so majestically in his maturity. Thank you Maestro, as always
Beethoven IS the MAESTRO. None like him. This Trio is awesome, perfect. And you can listen to some little "fragment" of the latest quartets.
No doubt this masterpiece has a departing point from the secure haven of Mozart and Papa Haydn but the trip takes a complete original path as it dives into the depths of the human soul that Beethoven seemed to understand above all composers in the entire history of music. Although keeping the classical sonata framework, the music vibrates with a new pathos. Pain, joy, melancholy , hope, despair, all human feelings show up, be in a single sf note or a theme or even in harmonic effects.
Thank you for this wonderful recording. I haven't listened to it in many years.
This is the best performance I've found yet for this near perfect String Trio, thanks for sharing.
Love, Laughter, Love
When you mentioned "near perfect" that got my attention because I remembered a music critic and writer who declared there were two "perfect" works in existence for string trio Mozart's Divertmento K. 563 and the Schoenberg String Trio Op. 45. If I can find where that comment came from, I'll be back to you with it.
He already showed some of his favorite patterns he would use later.
Maravilloso Beethoven! Y superlativa interpretación!
Simply MARVELOUS !!!! Many thanks for adding beauty to my day !!!
Superbe écriture musicale de Ludwig van Beethoven à l'Âge de 22 ans en 1792 !. Thank you very Much !.
He might have only been 21 (!) when he started the work, since his birthday was in mid-December.
Superbe. Quel plaisir de suivre ces partitions sur mon ordinateur. Merci infiniment monsiuer Bartmans.
Thank you, Bartje...and especially for including the score.
True....Reading along with Ludwig is a pleasure.....Imagine the discipline and perfectionism!
Thank you for sharing this beautiful rendition of this great Trio.
Extraordinaire legato d'Arthur Grumiaux qui rend son son si "humain" !
02:08 how do you came up with that phrase? So unpredictable... completely gorgeous
2:32 Mozart 35 symphony
wonderful!
WOW! But more viola! 🙂
Doesn't the 1:57 remind you of the Alla Menchen from the 9th Symphony?
Schönes Tempo im 2. Satz
32:24 - end of exposition from op 74 string quartet.
I find some pianistic features in the writing of this trio.
There's a lot of pianistic features in the writing of Beethoven's early works. For one, it's just convenient for a student/young composer to think of a piano when composing works for multiple voices. Two, Beethoven was both a pianist as well as a gifted improviser, so a lot of the harmonic voicing in these early works probably came most naturally to him when he was sitting at the piano.
Especially in the violin part in the beginning.
@@tristanstefanovic Yes, you are right. I would like here to refer to an old book by Leibowitz (1951): The evolution of the music from Bach to Scheonberg". This book has been reedited, but perhaps not in ERnglish. Wrining about the Beethoven's violin Concerto op. 61 =, he notes thet some arpeggois are written on purpose in a quite pianistic manner (like the 'Alberti' bass), while arpeggating on the four strings as usual would have been much more brillant and actually easier to perform. Paganin is full of such arpeggios, but they are used within a high virtuoso writing.
@@gerardbegni2806 I see them in Mozart music too. For example, the beginning of his Haffner symphony translates very easily when you look at a piano.
@@leonhardeuler6811 Yes, you are fully right, but at leats as chamber music is concerned, for me, there is a subtle difference berween ' finding some pianistic festures" and "being very easily trnscribed to piano'. Even in the last Beethoven SQ's, (including the three Rasosumovski and op.96) these are some short sections which can easily be transcribed for piano, but they are not 'pianistic features" in them
Esto es muy bueno
6:00
This trio would be something right out of Wranitzky!
11:12
Wish I could play in Trios/Quartets, but I play Bass 😔
transpose?
Don't you know "the trout" of Schubert? It's a quintet where a Bass is needed 🎻
@@kranichauswolfsburg705 That's the most famous, but there are many more. Vaughan-Williams piano quintet, hummel piano quintet, beethoven septet, dvorak string quintet 2, prokofiev quintet op 39, strauss till eulenspiegel einmal anders op 28, to name a few
Speaking as a bass player Meme Dreams, I feel your pain. I play bass with a mandolin and guitar group. Sometimes I have to try to play cello parts on my acoustic string bass. I have had to transpose a few of them to make it easier for me to play them. Since I play piano also, sometimes I am able to play that instrument instead of my bass. Also, last but not least, since Beethoven was my father's favorite de-composer, I am very familiar with most of his music because my father loved to listen to almost anything by Beethoven.
I wish I could play in a string trio, but I lose every sense of rhythm as soon as I play.
My cello teacher also tells me to ALWAYS practice with a metronome for the first few months it may seem like you are fighting it but as long as you put effort to play with it you'll get it. After that my teacher says you wont be able to play without one, hope it helped!! Good luck!
Learn Rhythm without your instrument and put it together.important.
You can do it!
32:10
34:46
Think I've found my 8th grade ensemble lol