BEETHOVEN Piano Trio No. 7 in B-flat major (Op. 97) 'Archduke' Score
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- เผยแพร่เมื่อ 8 ก.ค. 2019
- "The Piano Trio in B-flat major (Op. 97) by Ludwig van Beethoven is a piano trio completed in 1811. It is commonly referred to as the Archduke Trio, because it was dedicated to Archduke Rudolph of Austria, the youngest of twelve children of Leopold II, Holy Roman Emperor. Rudolf was an amateur pianist and a patron, friend, and composition student of Beethoven. Beethoven dedicated a total of fourteen compositions to the Archduke, who dedicated one of his own to Beethoven in return.
The trio was written late in Beethoven's so-called "middle period". He began composing it in the summer of 1810, and completed it in March 1811.
Although the "Archduke Trio" is sometimes numbered as "No. 7", the numbering of Beethoven's twelve piano trios is not standardized, and in other sources the Op. 97 trio may be shown as having a different number, if any."
-Wikipedia 2019
Performed by the Beaux Arts Trio (Menahem Pressler, Piano; Isidore Cohen, Violin; Bernard Greenhouse, Cello)
Allegro Moderato - 00:05
Scherzo (Allegro) - 14:11
Andante cantabile, ma però con moto - 24:57
Allegro Moderato - 38:29 - เพลง
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I think this is the most genuinely happy work by Beethoven. Pure endorphins! He should've really been in a good mood when he wrote this lol
And yet it is also indelibly connected with one of his greatest tragedies - Beethoven decided to perform the premier with friends - but his deafness had worsened to such a state that when he thought he was playing pianissimo (very quietly) the piano actually failed to make any sound, and the audience started laughing as a result. He never performed in public again...
Like in the "Hammerclavier" sonata, Beethoven modulates (in the 1st mvt) to the submediant G, a clear break with standard Classical sonata-form procedure.
Mozart Fantasie K.475 in C Minor (1785): a chromatic mediant modulation (from B minor to D major) introduces the "second theme" of the fantasie th-cam.com/video/UCdek-1aM0I/w-d-xo.html
Yes that is true but in the recap the secondary theme is in Bb the home key. Thats what we would normally expect. Briggs (Juiliard night classes) teaches us that the 2o theme in the exposition is A DOMINANT therefore the 2o theme in the recap should be its tonic or C. Rules are never strict and can be broken.
In Beethoven op 18 no 3 ,first movement, the exposition starts out in D but the 2o theme is in C. Now in the recapitulation, when the 2o theme is brought back, it is in F. Since C is the dominant of F this goes by the rule previously stated . Hope you are having a good day
@@jackjack3320 It is definitely a modulation to a mediant since there is a new dominant with C# as the leading tone. But it is not chromatic because the key signatures are the same.
Ask Schubert! He discovered his musical identity by adopting the great master Beethoven's methods of this composition which influenced many other composers Brahms, Schuman.. Stravinsky Etc...
The beginning reminds me a little bit to the b flat major Sonata for piano solo by schubert...
you guessed right! schubert 's composing style was based and mainly influenced by this profound genuis opus 97 Trio by the Great master as it did dramatically influenced Schuman, Brahms and of course Stravinsky who discovered his so co called revolutionary neo- classical musical style hidden in this genuis Trio..... ahhh Beethoven 🌋
I am not in the guessing business I am
into the scientific and analytical materials and Beethoven's influences are spread over all who came and composed after him
39:10-39-17 those Rhythm runs between the notes makes the music sound like it’s from the 1920s, at first I forgot I was listening to Beethoven, and then realized this was composed on 1811. Some geniuses were ahead of their time.
That slow movement a portrait of gratitude and compassion. Love it so much!
14:12 2악장
25:02 3악장
38:31 4악장
The best music. THIS IS GOD
00:05
14:11
24:57
38:29
thank you
thank you =)
4악장
B주제 39:30
C주제 40:35
9:09 - 10:38 A very unique passage, really!
maybe schumann's piano trio 3 got inspiration from here
The last known time Beethoven appeared as a pianist was in a performance of his 'Archduke' Trio in 1814? (Source: Beethoven On Beethoven, Playing His Piano Music His Way, by William S. Newman, Norton & Company, 1988, P. 20)
3rd Movement - 4th: must surely be one of the longest segues ever composed. And, like the whole work, beautifully executed by this trio - wonderful to listen to musicians who know how to play Beethoven
It's beautiful, but being a classical pianist, and hearing this interpretation, I think it lacks a sort of vivacious energy and expressive intensity - too sleepy.
wonderful work thanks 4 sharing
Pressler... what a Pianist!
Cake here intending to listen to only the Andante since infound some sheet music fornit (solo piano), and was taken aback at how beautiful this piece is. Currently 25 mins in and loving every measure.
The very last coda A major to B flat is so cool
I like the regality of the silence here, though majestic in its core-signature it provides tranquility and calm... ....like the 5. piano concert or the Eroica but less the pomp one can hear there( but this isn't meant to be deprecative though... ), it is the sound of silence that would leave me ( ...in other circumstances... ) full of bliss and joy on hearing this... ...I like it so much!
Le p'tit Daniel🐕🐕🐕
16:36 glorious ......
the ending part of 2nd mvt. makes me think of his piano concertro no.5's 3rd mvt.😊
I do like it.
Schitterend, vooral de piano !!!!
Lots of ghostly passages here. Going from theme 1 to theme 2 First movement has a chromatic transition From Bb to G. Development contains pizzicato strangeness. Second movement has a fugal chromatic section that is very strange.
27:17
A Person Ludo at his ineffable best!
36:50-37:50
best
So what happened to triplets at 1:23 ?
38:29 A
39:25 B
40:35 C
14:11
Why you add it a recapitulation in the Scherzo? from 18:37 to 22:49
there is no recapitulation in this recording, because i know very well this recording Beaux Arts trio 1979.
If for a score reason... put a video for Szeryng Kempff Fournier
To anyone: regarding the piano part, what would you say the difficulty level is on this?
The last movement is so difficult
00:38
16:38 Rage over a lost penny?
Rage over a lost penny.
noice
0:52
39:28
40:34
i think the piano was a bit too close to the microphone? because its blurring the strings' sound :(
Kafka on the Shore?
I was wondering am I the only one.
@@jozefina1205 there's another upload of this on TH-cam that every comment is literally Kafka related, we're not unique :P
@@b.c.slumber3694 hahahah, I have read the book recently and this is the first time I checked this composition, so I didn't know that is so mentioned on other videos. 😁😅 Btw, english is not my first language, so I'm sorry if I make some grammar mistakes. 😅
@@jozefina1205 your english is better than some english speaking people here in Australia. Don't worry. You're all good.
Was looking for this comment
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Quand, à la fin de sa vie, Joseph Haydn écoute les premiers quatuors à cordes de Beethoven à qui il avait donné quelques cours, il se dis : là je suis dépassé ; je vais arrêter la musique...
bruh
As usual, Beethoven seldom composed his pieces or movements with actual melodies like Mozart or Tchaikovsky did in their compositions. Rather, Beethoven liked to use a partial part or a phrase of a melody. In other words, Beethoven compositions are motiviclly-crafted.
#16:02
Who are the three players?
some of his pieces are so hard to listen... it seems there is no a concise melodic flow, just scattered motives and repetitive rhytmic tittup.. and when he seeds a melody (usually simplistic but easily memorable and harmonically pleasant), he rarely finishes it with some cognisable cadence.. instead, its fractions start to line up one after another and soon it is not more enjoyable... the whole structure is very static and that makes his music so exhausting sometimes.
Sounds like an intellect issue to me.
I can understand how Beethoven's use of melodic fragments as motivic building blocks could be frustrating to minds that prefer solid melodic lines. I noted that exact flaw many years ago and wondered why he couldn't just compose complete melodic lines as he did with the 3rd movement of Opus 31 No 3, or the 2nd movement of Op 90. In any event, he is still my favorite composer. Perhaps Schubert may be more towards your tastes?
@@erika6651 "Flaw"? Beethoven, aka the greatest composer of all time, doesn't have a single flaw. Just because you are not smart enough to understand that the music doesn't need to be the simple, trivial and boring "melody over accompaniment" structure (like 90% of Chopin's "music") doesn't mean it's composer's fault.
Yeah, no. This isn’t hard to listen to at all, it’s absolutely gorgeous. This isn’t some dissonant Brahms or Schoenberg piece rooted deeply in academia. It’s a highly traditional and melodic classical work with tons of “familiar” cadences. What?
More than that, this piece predicts Schubert brilliantly.
@@ultimateconstruction
Beethoven is my favorite composer. I more than appreciate his music. I'm aware of his strengths and his flaws. Seriously, if you are incapable of having an open and intelligent discussion with people online, don't bother to engage us. Honesty, if you have to resort to ad hominem attacks, it's not the other person that's lacking intelligence bub.
It's admittedly a slightly primitive piece, particularly in the strings - it's clear Beethoven hadn't quite reached his full potential when it came to piano trio's.
Primitive is for sure the wrong word.
Utter bullshit!
I definitely agree that it isn’t representative of his best work, but isn’t this one of his later piano trios? Personally, his third in c minor has always been a favorite of mine, especially the finale.
You are joking, surely. I thought this piece was considered one of Beethoven's towering masterpieces, and an important work in the whole Piano Trio repertoire.
it's literally one of the most acclaimed and influential piano trios ever...
14:11
0:38