Beethoven: Trios Variations No. 10, Op. 44 & No. 11, Op. 121a / Remastered (rf.rc.: Beaux Arts Trio)

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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
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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..." https://www.earsense.org/chamber-musi...

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