Album insights
Beethoven's middle period, spanning from approximately 1803 to 1814, evokes an image of a titan wrestling with his fate, as seen in renowned works like the "Eroica," the 5th Symphony, the "Appassionata," and the opera Fidelio. However, a more comprehensive view reveals an unprecedented lyrical breadth in pieces such as the "Pastoral Symphony," the 4th Piano Concerto, and the Violin Concerto. The initial movements of these three compositions embrace a serene expansiveness and moments of profound contemplative silence, showcasing revolutionary and prophetic elements akin to the "heroic" endeavors of Beethoven.
In his chamber music, Beethoven's predominantly lyrical and introspective works during the years 1808 to 1812 find counterparts in masterpieces like the A-Dur Cello Sonata, the E-Dur Piano Trio Op. 70, No. 2, the G-Dur Violin Sonata Op. 96, and the op. 97 Erzherzog Trio. The Erzherzog, Rudolph, Archduke of Austria, was not only an excellent pianist but also a composition student of Beethoven. Despite occasional difficulties in their relationship, Beethoven and his noble student-patron remained close, and Beethoven acknowledged Rudolph's support by dedicating numerous works to him, establishing Rudolph as one of history's most generously honored figures in music.
In the summer of 1810, Beethoven made initial sketches for the "Erzherzog Trio" in the spa town of Baden bei Wien. Notably, he also composed a starkly contrasting piece, the compressed F-Moll String Quartet, during the same period. It wasn’t until the following spring that Beethoven revisited the trio seriously and completed it on March 26. After likely revisions, he premiered it with violinist Ignaz Schuppanzigh and cellist Josef Linke at the Vienna hotel "Zum römischen Kaiser" on April 11, 1814— one of Beethoven's final public performances.
Moving through the Allegro moderato's serene Apollo-like tone, Beethoven's sweeping thematic development unfolds, showcasing a blend of grace and grandeur. The first theme recurs twice within the piece, first in a rich piano texture and then in the complete trio, elaborated and varied. Beethoven achieves a rich tapestry of sounds, prominently featuring the cello. Unconventionally, the music transitions to G-Dur instead of the expected F-Dur, signaling Beethoven's evolving tonal exploration. The development section features a delicate dialogue between strings and piano, culminating in a mysterious duet and a subdued return to the initial theme before a triumphant coda.
Beethoven often juxtaposed a spacious, lyrical first movement with a witty, elusive Scherzo in his works, similar to the A-Dur Cello Sonata op. 69 and the "Razumovsky" Quartet in F-Dur. In the "Erzherzog Trio," the Scherzo surprises with a chromatic fugato and a lively waltz-trio exceeding expectations substantially. As the Scherzo's chromatic material resurfaces in the coda, resolving back to the rising scale from the start, Beethoven's unconventional treatment creates a coherent musical narrative.
Transitioning to the Andante cantabile in D-Dur, Beethoven introduces a radiant tonality, paralleling his departure to G-Dur in the first movement. This movement, a rare slow variation in his middle period, meditates on a chorale-like theme, hinting at the superb finales of op. 109 and op. 111 sonatas. Through four variations, Beethoven maintains the melody's essence amidst intricate figurations. Culminating in a contemplative duo reminiscent of an operatic love duet, the movement gradually ponders before drifting into distant tonalities.
Beethoven intriguingly merges the slow movement directly into the Finale at times, contrasting timeless reflection with vibrant exuberance. The Rondo's dance-like theme subtly referenced in the Andante's closing bars bursts to life, playfully recalling Viennese café music. Through harmonic wit and expressive melodies, Beethoven navigates this finale, culminating in a spirited Presto that encapsulates the movement's lively spirit.
The gentle Allegretto in Es-Dur transports us to Beethoven's early Bonn years before relocating to Vienna in 1792. Composed around 1790, likely in the lively context of Bonn's Zehrgarten, this innocuous Allegretto embodies a menuet without trio, reflecting Beethoven's early domestic works written for enlightened aristocrats and intellectuals.
In his early Viennese years, Beethoven catered to public interest through variations on popular opera melodies, including his own instrument. Presumably originating from this period, the variations on Wenzel Müller's comic opera tune "Ich bin der Schneider Kakadu" intertwine charming melodies with contrapuntal structures, playfully transforming the original theme across variations. Leading into a capricious Coda, Beethoven's Kakadu Variations whimsically deconstruct Müller's melody into a pseudo-academic Fugato, reveling in musical wit and creativity.
Richard Wigmore © 2003
Translated from: Viola Scheffel