Classical Music | Music for Trio

Recorded on 04/13/2016, uploaded on 01/11/2017

Musician's or Publisher's Notes

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

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Piano Trio in D major, Op. 70, No.1 "Ghost"     Ludwig van Beethoven

Beethoven's most famous piano student, the composer Carl Czerny, wrote in 1842 that the second movement of the Piano Trio in D, the Largo assai, reminded him of the ghost of Hamlet's father. He was close; evidence from pages of Beethoven's notebook suggests that the composer was discussing an opera of Shakespeare's Macbeth with the playwright Heinrich von Collin at the time. The words "Macbett" and "Ende" appear near sketches for the Largo. The "Ghost" movement was possibly meant for a scene of the three Witches. Czerny's nickname stuck; today the work is known as the "Ghost" Trio.

That middle movement is introduced with an eerie, sustained three notes in the strings, after which the piano responds mournfully. The strings and piano alternate this way through the introduction, thereby setting the ominous mood of the Largo. The dark D-minor melodies of the exposition become more forceful in its repeat. As the development begins, Beethoven modulates briefly to C major, then quickly moves on through several keys to re-establish the tense atmosphere. The end of the movement is characterized by gripping pauses and abrupt and intermittent stops and outbursts. With all its ghostly qualities, the movement's effects are achieved quite simply, with slow crescendos and diminuendos, chromaticism and silences, as well as impressionistic use of tremolando.       Notes by Jessie Rothwell

Courtesy of International Music Foundation.