Beethoven's trios for violin, viola, and cello remain among his least-played works. They seem to point back to the occasional chamber music of the Classical period, and if they're not given the proper attention, that's exactly what they do. But Beethoven himself thought enough even of the very early String Trio in E flat major, Op. 3 (1794), to supervise a keyboard arrangement of the work in the 1810s, and the Op. 9 set heard here, composed in 1798, is almost as ambitious as the group of Op. 18 string quartets that followed it by about a year, and for which it can be seen as a kind of study. The hard, weighty performances by the Trio Zimmermann command attention for these works. Hear the way it sculpts out the jagged opening melodic material of the climactic String Trio in C minor, Op. 9/3, or lay into the quasi-orchestral finale of the first trio of the set. There's a good deal of motivic work here that forecasts the density of Beethoven's mature chamber music language.
Beethoven was the last great composer to write string trios, and his are the finest works of their type. Mozart hardly touched this particular combination, and Haydn wrote quite few very early works which are now completely unknown. In any case, Haydn used two violins and a cello, whereas with Beethoven the standard combination became violin, viola, and cello. These are all early works, expert examples of all that Beethoven learned from Haydn and Mozart in preparation for the writing of his first great string quartets. But far from being mere composition exercises, these are highly rewarding works on their own, and these outstanding performances make the best possible case for their claim to be ranked among Beethoven's chamber music masterpieces.
The Trio Zimmermann’s previous release of Beethoven’s Trios received excellent reviews and won them the BBC Music Magazine’s Chamber Award in 2013. This next instalment shows us the ‘lighter’ side of Beethoven’s chamber works. The Trio in E flat major and Serenade in D major consist of sequences of six and eight movements respectively, with minuets and marches reminding us of courtly music from an earlier period. However, they are far from ‘old-fashioned’. The adventurous spirit of the young Beethoven is plain to hear, in the exceptionally creative use of textures, thematic development and formal innovation. In this music Beethoven gives each instrument an equal importance and a highly individual treatment. A first-class chamber ensemble is required to meet these demands and this is exactly what the Trio Zimmermann offer, comprised of three exceptional soloists.
By giving the stringed instruments the status of genuinely equal partners with the piano, it was Beethoven who gave the piano trio the form it was to retain throughout the 19th century. This album presents the composer's last two works in the genre, Op.70 No.2 dedicated to Countess Marie Erdödy, and the celebrated 'Archduke' trio, which marked the final public appearance of its composer.
The young Austrian Minetti Quartett follow up their first two hänssler CLASSIC releases of works by Haydn and Mendelssohn with works from the pen of the Grand Master of the String Quartet: Ludwig van Beethoven. Two early works from Opus 18, the 4th in the tragic key of C minor and the 2nd in a serene G major, frame the stormy “Quartetto serioso” op 95 in F minor. The unprejudiced naturalness and the multifaceted articulation of these four musicians is presented to fullest advantage in these expressive works, once again showcasing the outstanding musicianship of this young quartet.