Beethoven in c minor! Restless, unsettling, explosive... First time hearing this work, and even with nothing to compare it to, I believe this performance was the real thing - these fine musicians have great rapport and tackle this piece and its hair-raising technical demands with real verve. I especially appreciated their rendering of the quicksilver, pianissimo (I'm assuming that is the marking) coda to the last movement. I believe Beethoven's choice of piano trios for his "debut" was a deliberate, even calculated one... a niche that he could claim as his own. Yet these are not "early" works, as someone else has stated, they are masterpieces that take the classical model places it has never been before... I'm so glad that I don't know absolutely everything in the Beethoven canon - I have the joy of many "new" works to discover.
Magnificent. Go and compare this recording with all the other performances of this work currently available on CZcams- Kempf and others, Cassals and other, Stern and other, etc. In my view the Atos Trio outperforms all of them. The unity of their playing in unrivaled, and their interpretations of the music itself is pure delight to listen to.
Brava! I played the Spring Sonata (vln & pno) years ago, loved it, wonderful violinist. In subsequent years did some Brahms duo works: Eb viola and pno; E minor cello & pno it is just the best!! This trio just has a great ensemble and sound!
The pianist appears to be a very experienced accompinist, he gives space to the others. A wonderful group of experienced players. Do they have the utmost degree of immediacy and passion ? Not sure.
haydn also said he shouldnt publish op1 nr 3, he didnt like it ;) besides that, beethoven had composed some trios before this one but didnt wanna publish them.
Spazio Digitale There is no evidence that Haydn was jealous of anyone. The Pleyel story (Haydn passing off two of Pleyel’s trios as his own) was Haydn the unscrupulous businessman in the age before copyright, and therefore was almost acceptable. Haydn and his former pupil Pleyel got on well with each other whilst together in London (set up as rivals) from December 1791 until May 1792; in fact, there was little rivalry at all as Haydn - in short - blew every rival out of the water.
Robin Tranter It is difficult to justify that the young and inexperienced Beethoven’s Opus 1 is a ‘...masterpiece equal to Haydn and Mozart’, the two composers who most completely defined the late eighteenth century Classical style - it is not. What is true is that Beethoven stood on the threshold of an entirely new age which is clearly evident in this piece, a harbinger of what was to come, and as Haydn himself noted with remarkable prescience, Beethoven was destined to take his place amongst the greatest of composers.
un trio comme seul beethoven savait les composait ,, la musique de chambre de beethoven n avait d égal que sa puissance symphonique ,, l amour d une femme lui manquait et seule la musique géniale savait apaiser ses tourments intérieurs
sousafan100 Beethoven and Mozart never met, though Beethoven did possibly hear Mozart play on a brief visit to Vienna in 1787 - his comments were not particularly complimentary, and he said Mozart had a very ‘choppy’ keyboard technique ie no legato. Beethoven was well aware of - and rated highly - a great many of Mozart’s works, but as a composer, largely avoided the areas of Mozart’s greatest work, most notably opera and the concerto. Beethoven’s links with Haydn are rather more substantial,* not just as Haydn’s counterpoint pupil, but in what he learnt from him about the art of composing in which there is rather more of Haydn in Beethoven’s dna than there is of Mozart. You’re right though - a worthy successor to Mozart and Haydn. * Beethoven first met Haydn in Bonn in 1790, and probably for the last time in 1808 at the famous performance of The Creation in Vienna conducted by Salieri (in Italian), attended by both Haydn and Beethoven. That is over 18 years on and off, sometimes even under the same roof as when Beethoven stayed at the Esterhazy palace in Eisenstadt in 1793 whilst Haydn was there in-between his two trips to England.
In chamber music of the earlier classical period the piano used to be a sort of solo instrument accompanied by strings. It‘s very similar in Mozart‘s early sonatas for piano and violin. You hear in Beethoven‘s op. 1 that he is only beginning to diverge from that tradition. There is a hilarious description in Ernst Heimeran‘s „Das Stillvergnügte Streichquartett“ of a violinist and a cellist desperately trying to make themselves heard against the dominant piano by playing unisono fortissimo. As they don‘t succeed they grudgingly decide to found a string quartet.
"To a wrong note is insignificant; to play without passion is inexcusable."
- Ludwig van Beethoven
YES!
This is the best version of this piece i ever heard. The last movement is so perfect. So much energy and brilliance!
Die beste Interpretation dieses Stückes überhaupt!!! Sooo dynamisch:)))
The pageturner's performance was most elegant
Such a beautiful performance!! I'm so excited to perform this piece soon :) (violin)
Beethoven in c minor! Restless, unsettling, explosive... First time hearing this work, and even with nothing to compare it to, I believe this performance was the real thing - these fine musicians have great rapport and tackle this piece and its hair-raising technical demands with real verve. I especially appreciated their rendering of the quicksilver, pianissimo (I'm assuming that is the marking) coda to the last movement. I believe Beethoven's choice of piano trios for his "debut" was a deliberate, even calculated one... a niche that he could claim as his own. Yet these are not "early" works, as someone else has stated, they are masterpieces that take the classical model places it has never been before...
I'm so glad that I don't know absolutely everything in the Beethoven canon - I have the joy of many "new" works to discover.
David Roddis o
Yes, young Beethoven was already mature. Not just as personality but as an artist. I'm particularly impressed by the congenial pianist.
Absolutely world class performance of an exquisite piece of music, excellent work from all involved
Clear, elegant, inventive. Beethoven knew what he was after, no doubt about it.
They just found the best sound for this work, their playing as a trio is EXQUISITE~
Magnificent. Go and compare this recording with all the other performances of this work currently available on CZcams- Kempf and others, Cassals and other, Stern and other, etc. In my view the Atos Trio outperforms all of them. The unity of their playing in unrivaled, and their interpretations of the music itself is pure delight to listen to.
Very true indeed...
Love it. The sublime genius of Beethoven in his opus 1! Youth celebrating youth: performers and composer. The creative life is the best life.
Brilliant! I followed you with the score, and it was a delight!
Simply outstanding interpretation! Bravissimo 👏👏👏
0:00
7:25
14:55
18:45
Wonderful performance of a great piece!
i am playing this piece now
Greetings, Thomas! Wonderful work! I'm glad I found you. Happy New Year! - T. Hinds
Bravo!!! Superb interpretation, congratulations for the musicians, you are great!
Beautiful🙂I'm playing the piano part
Brava! I played the Spring Sonata (vln & pno) years ago, loved it, wonderful violinist. In subsequent years did some Brahms duo works: Eb viola and pno; E minor cello & pno it is just the best!! This trio just has a great ensemble and sound!
Great and moving interpretation of this work.
Wonderful!
Great tempo in the Finale! Real Prestissimo...... Love it!!
So do I!
The pianist appears to be a very experienced accompinist, he gives space to the others. A wonderful group of experienced players. Do they have the utmost degree of immediacy and passion ? Not sure.
Wow bold of you to say that the pianist is an accompanist, if anything in this piece he is the soloist.
bravo, très belle interprétation!!!
Op 1 and Beethoven is already composing masterpieces equal to Haydn and Mozart. A wonderful work and one of my favourite finale's.
+Robin Tranter Haydn said to Ludwig he shouldN'T publish it..lol (..edited)
haydn also said he shouldnt publish op1 nr 3, he didnt like it ;) besides that, beethoven had composed some trios before this one but didnt wanna publish them.
@@geem3905 He was jelous, that's all. Remember Pleyel... :-D
Spazio Digitale
There is no evidence that Haydn was jealous of anyone.
The Pleyel story (Haydn passing off two of Pleyel’s trios as his own) was Haydn the unscrupulous businessman in the age before copyright, and therefore was almost acceptable.
Haydn and his former pupil Pleyel got on well with each other whilst together in London (set up as rivals) from December 1791 until May 1792; in fact, there was little rivalry at all as Haydn - in short - blew every rival out of the water.
Robin Tranter
It is difficult to justify that the young and inexperienced Beethoven’s Opus 1 is a ‘...masterpiece equal to Haydn and Mozart’, the two composers who most completely defined the late eighteenth century Classical style - it is not.
What is true is that Beethoven stood on the threshold of an entirely new age which is clearly evident in this piece, a harbinger of what was to come, and as Haydn himself noted with remarkable prescience, Beethoven was destined to take his place amongst the greatest of composers.
bethoven un genio como pudo hacer esta clase de musica
Thomas Hoppe, i love you! Thank you for this magnificent pieces of art! Some day i will record all Beethoven works, some advice?
いいんですけど！
un trio comme seul beethoven savait les composait ,, la musique de chambre de beethoven n avait d égal que sa puissance symphonique ,, l amour d une femme lui manquait et seule la musique géniale savait apaiser ses tourments intérieurs
I don't understand Italian, but I like you.
Awesome...
haha the guy looks like Beethoven
bravo!!
only Beethoven could have written this - a worthy successor to Mozart...
sousafan100
Beethoven and Mozart never met, though Beethoven did possibly hear Mozart play on a brief visit to Vienna in 1787 - his comments were not particularly complimentary, and he said Mozart had a very ‘choppy’ keyboard technique ie no legato.
Beethoven was well aware of - and rated highly - a great many of Mozart’s works, but as a composer, largely avoided the areas of Mozart’s greatest work, most notably opera and the concerto.
Beethoven’s links with Haydn are rather more substantial,* not just as Haydn’s counterpoint pupil, but in what he learnt from him about the art of composing in which there is rather more of Haydn in Beethoven’s dna than there is of Mozart.
You’re right though - a worthy successor to Mozart and Haydn.
* Beethoven first met Haydn in Bonn in 1790, and probably for the last time in 1808 at the famous performance of The Creation in Vienna conducted by Salieri (in Italian), attended by both Haydn and Beethoven.
That is over 18 years on and off, sometimes even under the same roof as when Beethoven stayed at the Esterhazy palace in Eisenstadt in 1793 whilst Haydn was there in-between his two trips to England.
11:05 the violinist looked up to see what made the noise
4th mov. 18:45
These guys should form a heavy metal band
Brahms's heart should have beaten hard listening to this. Young Beethoven?
Why? Brahms trios are easily the equal.
@@matthewtaylor4555 Brahms's 3 Piano Trios (or is it 4?) are absolutely marvellous.
Bai,zeruko Beethoven
Arlo guztietan maisu ederra
01:18 oi lol..
Isn't the piano too loud?
No.
It’s a piano trio
A really sensitive pianist, no way he is to load.
In chamber music of the earlier classical period the piano used to be a sort of solo instrument accompanied by strings. It‘s very similar in Mozart‘s early sonatas for piano and violin. You hear in Beethoven‘s op. 1 that he is only beginning to diverge from that tradition.
There is a hilarious description in Ernst Heimeran‘s „Das Stillvergnügte Streichquartett“ of a violinist and a cellist desperately trying to make themselves heard against the dominant piano by playing unisono fortissimo. As they don‘t succeed they grudgingly decide to found a string quartet.