"Unfortunately there are only a handful of the Beethoven Complete Piano Trios on disc. Of those, these are by far the finest. I've purchased the set by Baremboim-Zukerman-DuPre several years ago, but found their performances to be a bit dry,conservative and uninvolved in the music.
The Beaux Art Trio's renditions are classics, but inconsistent. The Askenazy-Perlman-Harrell set are not only virtuostic performances by three of the greatest classical artists of their generation, but there is an incredible chemistry between each of them which the key to ensemble playing. Recorded in the 80s, the recording sound is warm and genuine, but dynamic as well. Highly recommeded!!"
Fine Beethoven Chamber Works
Ross Kennett | Narooma, NSW Australia | 07/11/2007
(5 out of 5 stars)
"These CDs are discs 3 & 4 of the complete piano trios of Beethoven. They were recorded from 1979 to 1984, and remastered and re-issued on EMI classics in 2004; I am surprised that this is the first review posted on Amazon.
The major works on these CDs are the later trios, opus 70 no 1, "Ghost", opus 70 no 2, and opus 97,"Archduke", dedicated to Beethoven's friend, pupil and benefactor the Archduke Rudfolf. This, opus 97, is probably the best trio sonata, but some of Schubert's come close. These later trios are more interesting as the cello is a full member of the group, no longer restricted to tagging along with the left hand of the pianist.
The players are Vladimir Ashkenazy on piano, Itzhak Perlman on violin and Lynn Harrell on cello. The first two are big names from the 1980s, and Harrell is a first class player, if much less well known. So you would expect a first class performance, and that's what you get. Ashkenazy leads but never dominates, the performace is light and airy, precise, often delicate, and joyful. It's the best "Archduke" I have heard, and that is the one you will come back to time
When you consider the budget price it has to get 5 stars."
Great performance, wonderful recording, great price.
T. Porges | Washington DC, USA | 03/02/2009
(5 out of 5 stars)
"The really terrific surprise in this collection (the second volume of two) is (for me at least) Harrell, who is wonderful. For the most part these are, like most late-eighteenth century chamber pieces (I am roughly quoting Andrew Huth's notes) written around the piano part, and Ashkenazy is bright, informative, thoughtful and sociable here. This is the volume of the two which includes the great late trios, op.97 (the "Archduke) and op.70 (the "Ghost"), so this is probably the set you're looking for, but by all means get both this and volume number one, as repeated listening will only build your appreciation for this group and this performance. You will love this, and it's cheap."
After buying the Beethoven violin & piano sonatas, these sho
Tom Brody | Berkeley, CA | 04/12/2010
(5 out of 5 stars)
"These two discs contain five full-length trios, and a collection of fifteen short trios (30-45 seconds). I liked best the trio called, "Ghost." However, a person who actually understands music will likely find much more to cherish and enjoy than I did. At any rate, for a person just starting to build up a collection of chamber music, other compositions would have a higher priority, for example, Beethoven's Violin Sonatas. Beethoven composed ten Violin Sonatas in all. I own the version by Itzhak Perlman and Vladimir Ashkenazy.
*** *** ***
Op. 70 (Ghost).
ALLEGRO. Of the pieces in this compilation, I liked Op.70 Ghost the best. Allegro begins with a brief dramatic outburst, which is replaced with a Brahmsian episode reminding me of rolling ocean waves. At 1 minute, 30 seconds, the dramatic outburst is repeated, and again replaced with the Brahmsian episode of rolling ocean waves.
LARGO. Largo is very quiet and slow. The piece gets louder and more driving, with the passage of time, and suddenly, at 9 min, 45 sec, gets extremely quiet again.
PRESTO. Presto is interesting and lively. But the layperson (me included) might not be able to discern any particular tunes or distinguishing rhythms in the Presto movement.
*** *** ***
VARIATIONS Op.44. There are fourteen variations. Each lasts from 30 seconds to 2 1/2 minutes. Most are 30-45 seconds long.
*** *** ***
Op. 70, No.2.
POCO. Poco contains a repetitive 6-count motif. But other than that, I couldn't put my finger on any unique sounding aspects of Poco.
ALLEGRETTO. At various points, there are thrashing episodes reminiscent of rock'n'roll power chords.
ALLEGRETTO MA NON TROPPO. I was not able to discern any distinguishing characteristics of this piece.
FINALE. Finale has a rousing military feel to it. Finale seems to sing, "Off we go into the wild blue yonder, climbing high into the sun, here they come zooming to meet our thunder, at 'em boys . . ."
*** *** ***
HESS 48. Hess 48 is a trio of only one movement, Allegretto. Hess 48 has an interesting, "Bah-dum tah-dum" motif in it.
*** *** ***
Op. 97 (Archduke).
ALLEGRO. Allegro has a simple tune. It is not a particularly good tune. It is like one of the lesser known songs of GERRY AND THE PACEMAKERS. Anyway, this tune or theme is found at the beginning, at 3 minutes and 20 seconds, and elsewhere in the piece. At 8 minutes, there begins an intriguing pizzizato episode. The pizzicato episode lasts only one minute.
SCHERZO. The tune in the Scherzo is more interesting than that in the Allegro. At 2 minutes, 15 seconds into the Scherzo, we find an interlude of increasing drama and tension, like a rolling musical snowball. At 3 minutes, 30 seconds the musical snowball returns.
ANDANTE. This starts with a beautiful slow tune. At 5 minutes, there is an odd 1-minute long duck-paddling motif, where the piano rapidly scoots about going, "Dit-dit-dit-dah."
ALLEGRO. Allegro is suitable for polka dancing. The rhythm is like a clockwork. In parts, the tune is trite, but on other parts, the transitions and nuances get very interesting. At 4 min, 50 sec, there begins a brief interlude of rapid fiddling, where the bow skitters about madly.
*** *** ***
WoO 38.
ALLEGRO. Allegro has an interesting tune, perhaps like a jaunty sea shanty.
SCHERZO. Scherzo contains an interesting motif consisting of ten repeated notes (the same note). If you like to count to ten, then Scherzo is for you. If I had a little child, I would be tempted to use Scherzo as a teaching device, that is, to teach counting and to teach music appreciation. I would raise my hand, whenever the 1-count motif is about to start, and ask the kid to count to ten along with the ten repeated notes.
RONDO. Rondo is interesting, and seems to contain plenty of variety, but I couldn't put my finger on any distinguishing characteristics.
CONCLUSION. For a person developing a collection of chamber music, these Beethoven trios will be a solid addition. But, at least in my opinion, the following might be considered higher priority chamber music compositions for any music collection:
* Beethoven sonatas for violin and piano,
* All of the Brahms and Schumann piano quartets and piano quintets,
* Schumann duets for Oboe and Piano (recorded by Hollinger and Brendel on the PHILIPS label),
* Some of the four hand renditions of Brahms (recorded by Matthies and Kohn on the NAXOS label),
* Hindemith sonatas for winds and piano (recorded by Damerini et al. on ARTS MUSIC GMBH label),
* Bartok string quartets."
Superb performances full of life
Alan A. Elsner | Washington DC | 12/24/2009
(5 out of 5 stars)
"Beethoven is one of those composers that emerged fully himself from his first compositions. These performances of the three trios Opus 1 are full of life and vigor and make a strong case for these early works. You hear Beethoven's enormous personality from the first note. The players are all individual virtuosos but they meld seamlessly. This is marvellous muscular playing..."
Track Listings (23) - Disc #1
