Ludwig van BEETHOVEN (1770-1827)
Piano Trio No. 2 in G major, Op. 1 No. 2 [33:31]
Piano Trio No. 5 in D major, Op. 70 No. 1 'The Ghost' [25:39]
Piano Trio No. 4 in B flat major, Op. 11 'Gassenhauer' [21:31]
Piano Trio No. 6 in E flat Major, Op. 70 No. 2 [28:46]
ATOS Trio
rec. live 2 December 2015, Wigmore Hall, London
Piano Trios - Volume One
WIGMORE HALL LIVE WHLIVE0094/2 [2 CDs: 109:37]
This is the first of two 2-CD volumes in a survey of the Beethoven Piano Trios. The second volume has been released also, with the sequential catalogue number of WHLive0095/2, and contains three works, the other two Trios of Opus 1 and the great “Archduke” Trio Op.97. If that distribution of works across the two issues seems a bit erratic, it is explained by the fact that each double CD set contains a whole live concert, and makes musical sense on its own terms. The two concerts were recorded in 2015 and 2016, and the Wigmore Hall Live label has saved them up for release just ahead of this year’s 250th anniversary of the composer’s birth. It has been worth the wait, to judge by this first instalment.
The two halves of the concert, one on each CD, follow the same pattern with a work of the late 18th century followed by one of the mature Op.70 pair. So disc one opens with the G major Trio Op.1/2, which is given a most ingratiating performance, which suits much of the work’s character. There is an apprehensive mood to the opening slow introduction, before the main Allegro vivace features playing that combines seriousness and lightheartedness appropriate to the moment, but keeps it all sounding of a piece. Seriousness takes hold entirely in the ensuing Largo con espressione, an early demonstration of Beethoven’s profound manner in slow music, in a searching performance alive to its daring modulations. The scherzo is playful, the finale irrepressible with its fast flying semiquavers executed with impressive precision. It seems designed to provoke the warm and generous reception with which the Wigmore audience greets its close – yes, applause is retained after every work.
The “Ghost” Trio, Op.70/1 is unusual among the piano trios in having only three movements, but they are so rich that we do not miss the absent scherzo. The first movement’s contrasts of texture, dynamics, and mood are all encompassed Allegro vivace con brio as the composer asks, and even the dolce second theme is kept flowing. The Atos Trio do not overdo the spectral aspects of the central Largo, for although Czerny’s observation that it reminded him of the appearance of Banquo’s ghost gave the piece its nickname, they play it as questing and even proto-Romantic, while still sounding its disturbing depths. The Presto finale banishes any darker moods for the most part, as the Atos toss off both its strenuous and its carefree passages with equal aplomb.
The Trio No. 4 in B flat major, Op.11 is the odd one out here, being the version of a three movement clarinet trio in which the violin takes the clarinet part (and is identical with it a few three part violin chords aside). The Atos Trio play it for all its worth, but no more than that, enjoying themselves in this lighter but still entertaining piece. The central Adagio is not without pathos, and the finale’s variations on a comic hit song of the day – its text “Before I start work I must have something to eat” – are early Beethoven as his most irreverent, and there is plenty of wit in the playing.
Op.70/2 opens with a Poco sostenuto introduction whose imitative dolce phrases are played with a mystical hesistancy, until the Allegro ma non troppo launches upon its good-humoured course. This E flat trio is perhaps the happiest of all the piano trios, both in mood and invention. Misha Donat’s excellent booklet note points out the connections to Haydn. There is no rumbustious scherzo this time, for each of the inner movements is marked Allegretto, the second with an added ma non troppo. The first of them is dance-like, and the players give a lift to its ‘Scotch snap’ figure whenever it recurs. The second Allegretto is more songful (Donat even mentions Schubert and one easily hears why), and the Atos players grasp each lyrical opportunity with grace and charm. The Finale has great drive, and according to Angus Watson’s fine book on the chamber music, the composer told his publisher “there should be no ritardando in that whole movement”. Nonetheless the Atos Trio still find plenty of light and shade, and even the odd moment of repose, without losing the sense of unflagging energy.
An excellent concert is captured here, with a recording quality and level of execution so good that you would think these are studio made – until the applause bursts in. I greatly look forward to hearing the second volume.
Roy Westbrook
Performers: Annette von Hehn, violin; Stefan Heinemeyer, cello; Thomas Hoppe, piano
