Classical Music | Violin Music

Recorded on 07/21/2009, uploaded on 11/03/2011

Musician's or Publisher's Notes

Following the completion of the Sixth Symphony, Beethoven temporarily set aside the grand forms of the symphony and returned to the intimate realm of chamber music with the composition of two piano trios, published the following year as his opus 70. The first of these, in D major, is the famous “Ghost” Trio. The second in E-flat major, however, is no less a magnificent work of art as its companion.

The first movement, marked Allegro ma non troppo, begins with a slow introduction, hearkening back to the era of Mozart and Haydn. Alongside the work’s lyricism established in the opening dolce melodic line is a subtle element of counterpoint, which is developed throughout the movement. The introduction is brief and leads directly into the lyrical first theme of the sonata form proper. An air of mystery arrives with the start of the second subject as it shifts without warning into the key of G-flat major and the piano and cello take part in imitative two-part counterpoint. In the recapitulation, this theme returns in the key of C-flat major, mimicking somewhat the key scheme of the earlier Waldstein Piano Sonata.

Adopting an Allegretto tempo for the second movement, Beethoven gives us no real slow movement. The movement is in double variation form, a favorite of Haydn’s and which virtually fell into disuse after the elder composer’s death. This movement is one of the few examples of the form’s use during the 19^th century. Two themes are presented: the first, a tune in C major whose lyricism, like the prior movement, barely disguises an eloquent contrapuntal texture; the second, a turbulent theme in C minor. Each theme is then varied in turn. The movement closes with a brief coda in which the first theme appears in the minor key giving a sense of tragedy to the final measures.

The following movement, also marked Allegretto, is an expanded Scherzo in the manner of the Seventh Symphony. Yet, it is not a scherzo that one typically imagines in the works of Beethoven. Continuing with unhurried lyricism, it sounds more like a precursor to the intermezzi Johannes Brahms used in his symphonies than the dramatic and fiery scherzos associated with Beethoven. The brief trio section adopts a chorale-like texture with phrases traded off between the strings and piano.

The finale begins briskly with quick scales and forte chords but ultimately subsides into yet another song-like tune which forms the movement’s first subject. The secondary theme arrives in the key of G major full of heroism and vigor. A feeling of forward motion is maintained throughout the movement with the persistent presence of sixteenth notes, yet the energy at times wanes with their transformation into triplets. The final statement of the second theme in the key of C major, however, gives the music a last burst of energy that carries the piece onward to a spirited and triumphant ending.      Joseph DuBose

 
courtesy of the Steans Music Institute

The Steans Music Institute is the Ravinia Festival's professional studies program for young musicians.