Full Album available // Beethoven: The 11 Trios for Piano, Violin & Cello by the Beaux Arts Trio 🎧 Qobuz (Hi-Res) cutt.ly/6eJxwEgc Tidal (Hi-Res) cutt.ly/reJxw8aV 🎧 Apple Music (Lossless) cutt.ly/MeJxeph3 Deezer (Hi-Fi) cutt.ly/2eJxexCq 🎧 Amazon Music (Hi-Res) cutt.ly/XeJxeY6r Spotify (mp3) cutt.ly/2eJxeJJr 🎧 TH-cam Music (mp4) cutt.ly/teJxe5FS 🔊 Discover our PREMIUM COLLECTION Albums (Hi-Res MASTER - WAV uncompressed) classicalmusicreference.com/ Ludwig Van Beethoven (1770-1827) Trios Variations No. 10, Op. 44 & No. 11, Op. 121a 00:00 Trio for Piano, Violin & Cello No. 10 in E-flat Major, Op. 44: 14 Variations on an original theme (Andante) (2023 Remastered, Studio 1965) 14:24 Trio for Piano, Violin & Cello No. 11 in G Major, Op. 121a: 10 Variations on Wenzel Müller’s Song: « Ich bin der Schneider Kadaku » (2023 Remastered, Studio 1965) Beaux Arts Trio Piano: Menahem Pressler Violin: Daniel Guilet Cello: Bernard Greenhouse Recorded in 1965 New mastering in 2023 by AB for classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in audio equipment and software for $3,50 per month. Thank you very much :) www.patreon.com/cmrr The variation on a theme is the most frequently used form of variations; it has undergone various modifications over time. Originally, variations were created by embellishing the theme with a variety of trills and ornaments, while the rhythmic and harmonic structure remained unchanged. Classical-era variations included modifications to the theme itself, such as harmonic, rhythmic, and contrapuntal transformations. At the beginning, all the variations were entirely independent from one another, so that a "theme and variations" piece resembled a string of pearls of equal size. Later developments led either to a form in which several, or sometimes all, variations were combined into a systematic whole, or to a form in which, although each part maintained its independence, all parts formed a unified work of similar character. Kai Christiansen: "Ludwig van Beethoven's 14 Variations on an original theme for piano, violin and cello were published as Op. 44 in 1804 but there are sketches of the work dating back as far as 1792, the year now conventionally assigned as the composition date. In 1792, Beethoven was a mere 22 years old, still living in Bonn and yet three years away from publishing his official first opus, a set of three full-blown four-movement piano trios. It is not known how much Beethoven might have edited Op. 44 before its publication in 1804 but if 1792 witnessed the majority its creation, it is the earliest of Beethoven's compositions you are likely to hear on the concert stage. Descriptions of the piece have included disclaimers such as "early", "not as revolutionary as mature Beethoven", "nothing profound here" and even "conventional", but such comments overlook something essential. In this single-movement piece lasting some 14 minutes, there is already the craft, range, development and originality to mark Beethoven as a phenomenon as well as highlighting his unsurpassed lifelong mastery of the theme and variations form. Op. 44 quite simply reveals that Beethoven possessed an inexhaustible musical imagination, even when restricted to the most basic and initially unremarkable materials. Already, in 1792, Op. 44, Beethoven's mature personality is vividly intact. Already, he moves beyond his predecessors. (...) Beethoven begins Opus 44 with an intentionally simple theme, almost like a joke. The theme consists of a series of simple arpeggios in unison octaves, played by all three musicians in a mechanical pulse, without any musical ornamentation. The placement of the arpeggios across the bars makes the counting and phrasing somewhat ambiguous (it feels as though there is an unexpected extra measure), and the melody wanders and remains suspended. There is a pause, followed by a curiously grandiose cadence that sounds twice. There is hardly any melody, barely any harmony, just a few chords-mere "sticks" of unpromising music. But by the end of the piece, Beethoven will have you savoring this music like a favorite, familiar song whose every contour is filled with musical meaning..." www.earsense.org/chamber-music/Ludwig-van-Beethoven-14-Variations-for-Piano-Trio-in-E-flat-major-Op-44/ Richard Wigmore: "In his early Viennese years Beethoven satisfied popular demand for variations on operatic hit tunes with a stream of works involving his own instrument. And though the evidence is not watertight, the variations on the song ‘Ich bin der Schneider Kakadu’ (‘I am Kakadu the tailor’) from Wenzel Müller’s 1794 comic Singspiel Die Schwestern von Prag (‘The sisters from Prague’), probably originated at this time. Two decades later, in 1816, Beethoven wrote to the Leipzig publisher Härtel offering ‘Variations with an introduction and supplement, for piano, violin and cello, on a well-known theme by Müller, one of my earlier compositions, though it is not among the reprehensible ones’. Wenzel’s opera was revived in Vienna in 1814. And this may well have prompted Beethoven to dust down and revise his youthful variations, taking account of the extended compass of the newest pianos and perhaps adding his ‘supplement’ (i.e. coda) plus the exaggeratedly sombre G minor introduction that gradually outlines the ‘Kakadu’ theme. When the naive, Papageno-ish tune emerges in full, in a blithe G major, it is with an absurd sense of anticlimax - the kind of comic deflation Dohnányi emulated a century later in his Variations on a Nursery Theme. The variations broadly follow the traditional pattern by adorning the melody with increasingly brilliant figuration, though No 5, with its spare contrapuntal textures, and No 7, a delicate imitative duo for violin and cello alone, deconstruct rather than merely decorate the theme. After the traditional Adagio variation in the minor key, No 9, full of chromatic pathos (shades here of the slow introduction), and a jolly 6/8 variation, Beethoven launches a long and capricious coda by turning Müller’s ditty into a mock-learned fugato." Other Album available // Beethoven: The Cello Sonatas and Variations Pierre Fournier 🎧 Qobuz cutt.ly/weJxtpSA Tidal cutt.ly/leJxtm3U 🎧 Apple Music cutt.ly/neJxtKk3 Deezer cutt.ly/ieJxt7rq 🎧 Amazon Music cutt.ly/FeJxi6ky Spotify cutt.ly/OeJxof1f 🎧 TH-cam Music cutt.ly/OeJxoVTW SoundCloud cutt.ly/YeJxomXc
Lebhafte und wunderschöne Interpretation dieser beiden perfekt komponierten Triovariationen im veränderlichen Tempo mit klarem doch elegantem Klang des Klaviers, seidigem doch gut phrasiertem Ton der Violine und tiefem doch ebenso gut phrasiertem Ton des Violoncellos. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den drei Virtuosen ist wahrlich bewundernswert. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von neunundfünfzig Jahren vor. Alles is wunderbar!
The variation on a theme is the most frequently used form of variations; it has undergone various modifications over time. Originally, variations were created by embellishing the theme with a variety of trills and ornaments, while the rhythmic and harmonic structure remained unchanged. Classical-era variations included modifications to the theme itself, such as harmonic, rhythmic, and contrapuntal transformations. At the beginning, all the variations were entirely independent from one another, so that a "theme and variations" piece resembled a string of pearls of equal size. Later developments led either to a form in which several, or sometimes all, variations were combined into a systematic whole, or to a form in which, although each part maintained its independence, all parts formed a unified work of similar character. Kai Christiansen: "Ludwig van Beethoven's 14 Variations on an original theme for piano, violin and cello were published as Op. 44 in 1804 but there are sketches of the work dating back as far as 1792, the year now conventionally assigned as the composition date. In 1792, Beethoven was a mere 22 years old, still living in Bonn and yet three years away from publishing his official first opus, a set of three full-blown four-movement piano trios. It is not known how much Beethoven might have edited Op. 44 before its publication in 1804 but if 1792 witnessed the majority its creation, it is the earliest of Beethoven's compositions you are likely to hear on the concert stage. Descriptions of the piece have included disclaimers such as "early", "not as revolutionary as mature Beethoven", "nothing profound here" and even "conventional", but such comments overlook something essential. In this single-movement piece lasting some 14 minutes, there is already the craft, range, development and originality to mark Beethoven as a phenomenon as well as highlighting his unsurpassed lifelong mastery of the theme and variations form. Op. 44 quite simply reveals that Beethoven possessed an inexhaustible musical imagination, even when restricted to the most basic and initially unremarkable materials. Already, in 1792, Op. 44, Beethoven's mature personality is vividly intact. Already, he moves beyond his predecessors. (...) Beethoven begins Opus 44 with an intentionally simple theme, almost like a joke. The theme consists of a series of simple arpeggios in unison octaves, played by all three musicians in a mechanical pulse, without any musical ornamentation. The placement of the arpeggios across the bars makes the counting and phrasing somewhat ambiguous (it feels as though there is an unexpected extra measure), and the melody wanders and remains suspended. There is a pause, followed by a curiously grandiose cadence that sounds twice. There is hardly any melody, barely any harmony, just a few chords-mere "sticks" of unpromising music. But by the end of the piece, Beethoven will have you savoring this music like a favorite, familiar song whose every contour is filled with musical meaning..." www.earsense.org/chamber-music/Ludwig-van-Beethoven-14-Variations-for-Piano-Trio-in-E-flat-major-Op-44/ Richard Wigmore: "In his early Viennese years Beethoven satisfied popular demand for variations on operatic hit tunes with a stream of works involving his own instrument. And though the evidence is not watertight, the variations on the song ‘Ich bin der Schneider Kakadu’ (‘I am Kakadu the tailor’) from Wenzel Müller’s 1794 comic Singspiel Die Schwestern von Prag (‘The sisters from Prague’), probably originated at this time. Two decades later, in 1816, Beethoven wrote to the Leipzig publisher Härtel offering ‘Variations with an introduction and supplement, for piano, violin and cello, on a well-known theme by Müller, one of my earlier compositions, though it is not among the reprehensible ones’. Wenzel’s opera was revived in Vienna in 1814. And this may well have prompted Beethoven to dust down and revise his youthful variations, taking account of the extended compass of the newest pianos and perhaps adding his ‘supplement’ (i.e. coda) plus the exaggeratedly sombre G minor introduction that gradually outlines the ‘Kakadu’ theme. When the naive, Papageno-ish tune emerges in full, in a blithe G major, it is with an absurd sense of anticlimax - the kind of comic deflation Dohnányi emulated a century later in his Variations on a Nursery Theme. The variations broadly follow the traditional pattern by adorning the melody with increasingly brilliant figuration, though No 5, with its spare contrapuntal textures, and No 7, a delicate imitative duo for violin and cello alone, deconstruct rather than merely decorate the theme. After the traditional Adagio variation in the minor key, No 9, full of chromatic pathos (shades here of the slow introduction), and a jolly 6/8 variation, Beethoven launches a long and capricious coda by turning Müller’s ditty into a mock-learned fugato." Other Album available // Beethoven: The Cello Sonatas and Variations Pierre Fournier 🎧 Qobuz cutt.ly/weJxtpSA Tidal cutt.ly/leJxtm3U 🎧 Apple Music cutt.ly/neJxtKk3 Deezer cutt.ly/ieJxt7rq 🎧 Amazon Music cutt.ly/FeJxi6ky Spotify cutt.ly/OeJxof1f 🎧 TH-cam Music cutt.ly/OeJxoVTW SoundCloud cutt.ly/YeJxomXc
Full Album available // Beethoven: The 11 Trios for Piano, Violin & Cello by the Beaux Arts Trio
🎧 Qobuz (Hi-Res) cutt.ly/6eJxwEgc Tidal (Hi-Res) cutt.ly/reJxw8aV
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🎧 TH-cam Music (mp4) cutt.ly/teJxe5FS
🔊 Discover our PREMIUM COLLECTION Albums (Hi-Res MASTER - WAV uncompressed) classicalmusicreference.com/
Ludwig Van Beethoven (1770-1827) Trios Variations No. 10, Op. 44 & No. 11, Op. 121a
00:00 Trio for Piano, Violin & Cello No. 10 in E-flat Major, Op. 44: 14 Variations on an original theme (Andante) (2023 Remastered, Studio 1965)
14:24 Trio for Piano, Violin & Cello No. 11 in G Major, Op. 121a: 10 Variations on Wenzel Müller’s Song: « Ich bin der Schneider Kadaku » (2023 Remastered, Studio 1965)
Beaux Arts Trio
Piano: Menahem Pressler
Violin: Daniel Guilet
Cello: Bernard Greenhouse
Recorded in 1965
New mastering in 2023 by AB for classicalmusicreference.com/
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
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❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in audio equipment and software for $3,50 per month.
Thank you very much :) www.patreon.com/cmrr
The variation on a theme is the most frequently used form of variations; it has undergone various modifications over time. Originally, variations were created by embellishing the theme with a variety of trills and ornaments, while the rhythmic and harmonic structure remained unchanged. Classical-era variations included modifications to the theme itself, such as harmonic, rhythmic, and contrapuntal transformations. At the beginning, all the variations were entirely independent from one another, so that a "theme and variations" piece resembled a string of pearls of equal size. Later developments led either to a form in which several, or sometimes all, variations were combined into a systematic whole, or to a form in which, although each part maintained its independence, all parts formed a unified work of similar character.
Kai Christiansen: "Ludwig van Beethoven's 14 Variations on an original theme for piano, violin and cello were published as Op. 44 in 1804 but there are sketches of the work dating back as far as 1792, the year now conventionally assigned as the composition date. In 1792, Beethoven was a mere 22 years old, still living in Bonn and yet three years away from publishing his official first opus, a set of three full-blown four-movement piano trios. It is not known how much Beethoven might have edited Op. 44 before its publication in 1804 but if 1792 witnessed the majority its creation, it is the earliest of Beethoven's compositions you are likely to hear on the concert stage. Descriptions of the piece have included disclaimers such as "early", "not as revolutionary as mature Beethoven", "nothing profound here" and even "conventional", but such comments overlook something essential. In this single-movement piece lasting some 14 minutes, there is already the craft, range, development and originality to mark Beethoven as a phenomenon as well as highlighting his unsurpassed lifelong mastery of the theme and variations form. Op. 44 quite simply reveals that Beethoven possessed an inexhaustible musical imagination, even when restricted to the most basic and initially unremarkable materials. Already, in 1792, Op. 44, Beethoven's mature personality is vividly intact. Already, he moves beyond his predecessors. (...)
Beethoven begins Opus 44 with an intentionally simple theme, almost like a joke. The theme consists of a series of simple arpeggios in unison octaves, played by all three musicians in a mechanical pulse, without any musical ornamentation. The placement of the arpeggios across the bars makes the counting and phrasing somewhat ambiguous (it feels as though there is an unexpected extra measure), and the melody wanders and remains suspended. There is a pause, followed by a curiously grandiose cadence that sounds twice. There is hardly any melody, barely any harmony, just a few chords-mere "sticks" of unpromising music. But by the end of the piece, Beethoven will have you savoring this music like a favorite, familiar song whose every contour is filled with musical meaning..." www.earsense.org/chamber-music/Ludwig-van-Beethoven-14-Variations-for-Piano-Trio-in-E-flat-major-Op-44/
Richard Wigmore: "In his early Viennese years Beethoven satisfied popular demand for variations on operatic hit tunes with a stream of works involving his own instrument. And though the evidence is not watertight, the variations on the song ‘Ich bin der Schneider Kakadu’ (‘I am Kakadu the tailor’) from Wenzel Müller’s 1794 comic Singspiel Die Schwestern von Prag (‘The sisters from Prague’), probably originated at this time. Two decades later, in 1816, Beethoven wrote to the Leipzig publisher Härtel offering ‘Variations with an introduction and supplement, for piano, violin and cello, on a well-known theme by Müller, one of my earlier compositions, though it is not among the reprehensible ones’. Wenzel’s opera was revived in Vienna in 1814. And this may well have prompted Beethoven to dust down and revise his youthful variations, taking account of the extended compass of the newest pianos and perhaps adding his ‘supplement’ (i.e. coda) plus the exaggeratedly sombre G minor introduction that gradually outlines the ‘Kakadu’ theme. When the naive, Papageno-ish tune emerges in full, in a blithe G major, it is with an absurd sense of anticlimax - the kind of comic deflation Dohnányi emulated a century later in his Variations on a Nursery Theme. The variations broadly follow the traditional pattern by adorning the melody with increasingly brilliant figuration, though No 5, with its spare contrapuntal textures, and No 7, a delicate imitative duo for violin and cello alone, deconstruct rather than merely decorate the theme. After the traditional Adagio variation in the minor key, No 9, full of chromatic pathos (shades here of the slow introduction), and a jolly 6/8 variation, Beethoven launches a long and capricious coda by turning Müller’s ditty into a mock-learned fugato."
Other Album available // Beethoven: The Cello Sonatas and Variations Pierre Fournier
🎧 Qobuz cutt.ly/weJxtpSA Tidal cutt.ly/leJxtm3U
🎧 Apple Music cutt.ly/neJxtKk3 Deezer cutt.ly/ieJxt7rq
🎧 Amazon Music cutt.ly/FeJxi6ky Spotify cutt.ly/OeJxof1f
🎧 TH-cam Music cutt.ly/OeJxoVTW SoundCloud cutt.ly/YeJxomXc
Lebhafte und wunderschöne Interpretation dieser beiden perfekt komponierten Triovariationen im veränderlichen Tempo mit klarem doch elegantem Klang des Klaviers, seidigem doch gut phrasiertem Ton der Violine und tiefem doch ebenso gut phrasiertem Ton des Violoncellos. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den drei Virtuosen ist wahrlich bewundernswert. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von neunundfünfzig Jahren vor. Alles is wunderbar!
The variation on a theme is the most frequently used form of variations; it has undergone various modifications over time. Originally, variations were created by embellishing the theme with a variety of trills and ornaments, while the rhythmic and harmonic structure remained unchanged. Classical-era variations included modifications to the theme itself, such as harmonic, rhythmic, and contrapuntal transformations. At the beginning, all the variations were entirely independent from one another, so that a "theme and variations" piece resembled a string of pearls of equal size. Later developments led either to a form in which several, or sometimes all, variations were combined into a systematic whole, or to a form in which, although each part maintained its independence, all parts formed a unified work of similar character.
Kai Christiansen: "Ludwig van Beethoven's 14 Variations on an original theme for piano, violin and cello were published as Op. 44 in 1804 but there are sketches of the work dating back as far as 1792, the year now conventionally assigned as the composition date. In 1792, Beethoven was a mere 22 years old, still living in Bonn and yet three years away from publishing his official first opus, a set of three full-blown four-movement piano trios. It is not known how much Beethoven might have edited Op. 44 before its publication in 1804 but if 1792 witnessed the majority its creation, it is the earliest of Beethoven's compositions you are likely to hear on the concert stage. Descriptions of the piece have included disclaimers such as "early", "not as revolutionary as mature Beethoven", "nothing profound here" and even "conventional", but such comments overlook something essential. In this single-movement piece lasting some 14 minutes, there is already the craft, range, development and originality to mark Beethoven as a phenomenon as well as highlighting his unsurpassed lifelong mastery of the theme and variations form. Op. 44 quite simply reveals that Beethoven possessed an inexhaustible musical imagination, even when restricted to the most basic and initially unremarkable materials. Already, in 1792, Op. 44, Beethoven's mature personality is vividly intact. Already, he moves beyond his predecessors. (...)
Beethoven begins Opus 44 with an intentionally simple theme, almost like a joke. The theme consists of a series of simple arpeggios in unison octaves, played by all three musicians in a mechanical pulse, without any musical ornamentation. The placement of the arpeggios across the bars makes the counting and phrasing somewhat ambiguous (it feels as though there is an unexpected extra measure), and the melody wanders and remains suspended. There is a pause, followed by a curiously grandiose cadence that sounds twice. There is hardly any melody, barely any harmony, just a few chords-mere "sticks" of unpromising music. But by the end of the piece, Beethoven will have you savoring this music like a favorite, familiar song whose every contour is filled with musical meaning..." www.earsense.org/chamber-music/Ludwig-van-Beethoven-14-Variations-for-Piano-Trio-in-E-flat-major-Op-44/
Richard Wigmore: "In his early Viennese years Beethoven satisfied popular demand for variations on operatic hit tunes with a stream of works involving his own instrument. And though the evidence is not watertight, the variations on the song ‘Ich bin der Schneider Kakadu’ (‘I am Kakadu the tailor’) from Wenzel Müller’s 1794 comic Singspiel Die Schwestern von Prag (‘The sisters from Prague’), probably originated at this time. Two decades later, in 1816, Beethoven wrote to the Leipzig publisher Härtel offering ‘Variations with an introduction and supplement, for piano, violin and cello, on a well-known theme by Müller, one of my earlier compositions, though it is not among the reprehensible ones’. Wenzel’s opera was revived in Vienna in 1814. And this may well have prompted Beethoven to dust down and revise his youthful variations, taking account of the extended compass of the newest pianos and perhaps adding his ‘supplement’ (i.e. coda) plus the exaggeratedly sombre G minor introduction that gradually outlines the ‘Kakadu’ theme. When the naive, Papageno-ish tune emerges in full, in a blithe G major, it is with an absurd sense of anticlimax - the kind of comic deflation Dohnányi emulated a century later in his Variations on a Nursery Theme. The variations broadly follow the traditional pattern by adorning the melody with increasingly brilliant figuration, though No 5, with its spare contrapuntal textures, and No 7, a delicate imitative duo for violin and cello alone, deconstruct rather than merely decorate the theme. After the traditional Adagio variation in the minor key, No 9, full of chromatic pathos (shades here of the slow introduction), and a jolly 6/8 variation, Beethoven launches a long and capricious coda by turning Müller’s ditty into a mock-learned fugato."
Other Album available // Beethoven: The Cello Sonatas and Variations Pierre Fournier
🎧 Qobuz cutt.ly/weJxtpSA Tidal cutt.ly/leJxtm3U
🎧 Apple Music cutt.ly/neJxtKk3 Deezer cutt.ly/ieJxt7rq
🎧 Amazon Music cutt.ly/FeJxi6ky Spotify cutt.ly/OeJxof1f
🎧 TH-cam Music cutt.ly/OeJxoVTW SoundCloud cutt.ly/YeJxomXc
Thank you!!!
Quite lovely, indeed.
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Both are interesting to listen to