Classical Music | Music for Trio

Recorded on 10/01/2014, uploaded on 03/24/2015

Musician's or Publisher's Notes

Composed in 1808 and premiered in Vienna by the composer, violinist Ignaz Schuppanzigh, and cellist Joseph Linke, the “Ghost” trio was dedicated to Countess Anna Maria von Erdödy, a close friend of Beethoven’s.

The piece is written in a symmetrical formal design of three large movements arranged fast-slow-fast, giving it an arched shape. The middle movement Largo stands in strong contrast to the music of optimism and energy that surrounds it. The themes and setting for this middle movement (and for which the piece is nicknamed “Ghost”) were derived from some sketches that Beethoven made for the witches’ scene in an aborted opera on the subject of Shakespeare’s Macbeth. With all its ghostly qualities, the movement's effects are achieved quite simply, with slow crescendos and diminuendos, chromaticism and silences, impressionistic use of tremolando, together with the eerie, ominous mood, dark D-minor melodies, gripping pauses and abrupt and intermittent stops and outbursts.

The first movement begins with a fast-moving rhythmic figure played in a vigorous unison; the main thematic material of the movement is played within the first several bars. The third movement is a return to more lucid writing, and serves as bright, warm relief. The music leaves out the sharp contrasts of both preceding movements, and instead flows serenely and seamlessly to the end.    Notes courtesy of Richard E Rodda and Jessie Rothwell.

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Piano Trio No.5, Op.70, No.1 in D major, “Ghost”           Ludwig van Beethoven

Beethoven’s two trios for violin, cello and piano, published as his opus 70, were composed during the summer of 1808 following swiftly the completion of the “Pastoral” Symphony. The first of these, known affectionately as the “Ghost” Trio, has undoubtedly become the most popular of the pair. However, the exuberant unison passage with which the work begins, not to mention the greater part of the entire work, would hardly bring to mind any images of the hereafter or of ghosts. It is the middle movement and its unearthly sounds that have given the trio its nickname. Indeed, throughout its course, one seems to be viewing the world through a ghastly spectral lens, surrounded by ominous shadows and even the bright light of the sun dimmed to nothing more than a faint, distant glow.

As alluded to, the outer movements of the trio are lively and even humorous with the finale bordering on raucous. Despite its concise form, the first movement presents a wealth of musical material much of which is carried over into the finale. A tonal dichotomy is established within the first few measures between the tonic key of D major and B-flat major. Both keys seem to vie for dominance throughout the movement, an effect made greater by the prolonged statement of the first theme in the latter key during the recapitulation.

Following is the ethereal middle movement in D minor mentioned before. It is possible this movement was taken from sketches intended as incidental music for William Shakespeare’s MacBeth, a speculation which certainly explains the music’s unearthly sounds. Briefly, the major mode attempts to dispel the dark shadows, particularly at the end, yet the spectral veil is not to be lifted. At certain places in the movement, one can even faintly hear the haunting sounds of the opening movement of the Ninth Symphony.

The Presto finale returns to the key of D major and displays Beethoven in one of his moods of unabashed fun and humor. A comical effect is achieved throughout the movement with fermatas that often come on the “wrong” harmonies. The D major/B-flat major conflict of the first movement is played out again in the finale. The conflict, as well as humor, is emphasized by the piano’s inability to refrain from ending up in the latter key at multiple points throughout the movement and then being vigorously forced by the strings to return to the tonic key. Though we were led before terrifying sights in the middle movement, it is obvious here that Beethoven is laughing and it cannot be helped but to laugh with him.    Joseph DuBose

Courtesy of International Music Foundation.