Beaux Arts Trio – Emily's Music Dump

February 14, 2014June 23, 2021

Beethoven – Triple Concerto – Opus 56

Ludwig Van Beethoven (1770-1827)

(Triple Concerto) Concerto in C for Piano, Violin, and Cello, Opus 56

Piano Trio No. 11 in G, Opus 121a

London Philharmonic Orchestra (Bernard Haitink, conductor)

Beaux Arts Trio – Menahem Pressler (piano), Isidore Cohen (violin), Bernard Greenhouse (cello)

Recorded in London 1/1977 (Opus 56); La Chaux-de-Fonds, Switzerland 5/1979 (Opus 121a)

ONE-SENTENCE REVIEW:

I didn’t really have anything special to do on Valentine’s Day (don’t cry for me I’m going out tomorrow night – the restaurants in L.A. are a nightmare on Valentine’s Day) – so I finally have time to write this about this recording of the Beethoven Triple Concerto and… it is fabulous!

ORIGINAL LINER NOTES (by Lothar Hoffmann-Erbrecht – translation by Michael Talbot):

The Drive For Unity

Beethoven Concerto in C, Op. 56 (Triple Concerto)

Beethoven worked on the Triple Concerto during 1803-1804; it was not published, however, until 1807.

The first drafts appear already on the last pages of the “Eroica” sketchbook and are continued in the large “Eroica” sketchbook.

The concerto is dedicated to Prince Lobkowitz, but Beethoven’s later “right-hand man,” Anton Felix Schindler, claimed that this “Concertino,” as he called it, was intended for the Archduke Rudolph, the violinist Karl August Seiler, and the cellist Anton Krafft.

The same source informs us that the first performance of the concerto took place in May 1808 in the Augarten, Vienna; the concert that featured it belonged to the series that Mozart had inaugurated in 1782.

The audience’s reception was frosty; according to Schindler, the unnamed artists who performed it (and thus indirectly also Beethoven) “earned no applause at all, for they had taken the affair too lightly.” Schindler goes on: “It (the concerto) remained undisturbed until 1830.”

When, at the beginning of the present century, Hugo Riemann revised the third edition of Thayer’s five-volume biography of Beethoven, he identified the Triple Concerto as a descendant of the sinfonia concertante, widely cultivated between 1770 and 1790, in which one or more instruments from the orchestra are treated in a solo fashion.

Even without considering the fact that the piano was never thrust into the foreground at that time, Beethoven’s Op. 56 seems to find a more natural home among the new concertante literature in “chamber music” style of the early nineteenth century, where in addition to the principal instrument – in our case the piano – the other instruments are all given rewarding solos to perform.

The genre constituted by compositions identified simple as “concertante” enjoyed universal popularity in Beethoven’s time and was rarely absent from the many public concerts given by travelling virtuosi.

After 1800 Beethoven inclined, in his instrumental compositions, towards share thematic and dynamic contrasts; but on the other hand he also favored a unitary approach to cyclical works, which ultimately, as in the Triple Concerto, leads to the presence of strong motivic links between all the movements.

The opening motive in characteristic rhythm, which rises up in the bass instruments and is repeated one scale degree higher, is the kernel from which all the subsequent musical thoughts of the work grow, sometimes so directly that they become hard to distinguish.

For instance, the second theme of the opening Allegro is more notable for the contrast introduced by its dynamic, compulsively modulating development than for its outline. Its structure allows the three instruments to play about with it in manifold ways and even to anticipate the “alla Polacca” finale in the minor-key transformations, which one might well described as “all’Ungherese.”

In the Largo second movement Beethoven transposes the germinal theme to A flat major. Here a broad, freely developed cantilena again eschews contrasts and leads directly into the last movement.

This Rondo alla Polacca in the traditional triple metre harks back to the opening both motivically and formally. As in the first movement we are treated to a minor-key episode, which gradually unfolds dynamically.

Beethoven – Piano Trio No. 11 in G, Op. 121a

Although by 1811 Beethoven had already almost “wrapped up” his creative legacy in the genre of the large-scale piano trio in several movements with Op. 70 and the B flat trio Op. 97, he returned once more to the fount of his artistic strivings in 1816 with the variations on “Ich bin der Schneider Kakadu” (Op. 121a).

Like the variations for piano trio on themes by Mozart from his early period, the “Kakadu” Variations are based on a simple, trifling song-theme, which he took from Wenzel Muller’s then very successful opera “The Sisters of Prague.”

Nonetheless, the differences from the early compositions are unmistakable: the structure has been loosened, and the freely flowing counterpoints and urgent, intense musical language used in the gradually expanding forms betray the proximity of the last piano sonatas and the “Diabelli” Variations from the same year.

The set of variations opens with an Adagio assai in G minor, an introduction that, despite being thematically related through its concentrated, shifting harmony, still conceals its aim. Only then do we hear from the trio the merry, trilling theme in the style of a Singspiel.

The first variations initially proceed along traditional paths, allowing the instruments to come into prominence in turn and slowly building up to a climax with changing figurations.

The music grows ever more complex, develops into fugato (variation 5) and fugue (variation 7) and introduces strong contradictions which develop in broad forms (variation 9: Adagio espressivo).

The tenth and last variation begins as a gigue, then recalls its G minor middle section the harmony of the introduction, and finally, in a viruoso coda, dissolves the outline of the restated opening Allegretto theme in a whirl.

The course of this work once again demonstrates in a nutshell how Beethoven found an individual way forward from the mechanical type of variation of the eighteenth century to the character variation on which he set his stamp.

TRACK LISTING:

1: Beethoven Concerto in C (Triple Concerto) – Allegro [18:03]
2: Beethoven Concerto in C (Triple Concerto) – Largo, Rondo alla Polacca [18:24]
3: Beethoven Piano Trio No. 11 in G, Op. 121a [19:01]

https://youtu.be/dS8CkxkQ-YE

https://youtu.be/RfocptSpsYA

FINAL THOUGHT:

So the audience hated the first performance of the Triple Concerto so much that it wasn’t played again for 23 years. Man, have our standards become so low that this bum Beethoven somehow became a genius over the years – or is our knowledge of classical music so limited that anything by anyone from a couple of hundred years ago is considered great because we’re afraid any criticism would show our ignorance? My vote goes to Beethoven is a genius and that opening night audience in 1808 were a bunch of idiots.

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

February 6, 2013June 23, 2021

Anton Stepanovich Arensky – String Quartets – Piano Quintet

Anton Stepanovich Arensky (1861-1906)

String Quartet No. 1 in G Major, Op. 11

String Quartet No. 2 in A Minor, Op. 35

Piano Quintet in D Major, Op. 51

Ilona Prunyi – Lajtha Quartet

Recorded at the Rottenbiller Street Studio, Budapest from January 16 – 22, 1994

ONE-SENTENCE REVIEW:

Sometimes, even though you wash your hands over and over again, you just can’t get the stink out – that’s how I feel about the Arensky String Quartets – I want them to be clean and smell good but every time I listen to them, I can’t get the stink out. (I realize that should be three sentences but I used dashes instead to preserve my one-sentence format – sorry.)

ORIGINAL LINER NOTES (by Keith Anderson):

The son of keen amateur musicians, his father a doctor, Anton Arensky was born in Novgorod in 1861. His musical abilities were encouraged by his parents and he had his first piano lessons from his mother.

As a child he had begun to write music and when the family moved to St. Petersburg he was able to take more consistent musical instruction and after some preparation, in 1879 to enter the Conservatory, where his teachers included Rimsky-Korsakov for composition and Johannsen for counterpoint and fugue.

He was entrusted with the preparation of a piano reduction of the former’s opera The Snow Maiden and under Rimsky-Korsakov’s supervision began work on his own first opera A Dream on the Volga, which was later completed, to be staged in Moscow with some success in 1891.

His teacher, however, saw no great future for the works of his pupil, considering any success achieved likely to be transitory. This prediction has not proved true in every respect, since some, at least, of Arensky’s works have maintained a secure if limited place in standard orchestral and piano repertoire.

Arensky completed his studies at the Conservatory in 1882 and at once took up a position at the Moscow Conservatory as a teacher and later as professor of counterpoint and harmony. There his pupils included Rachmaninov, Gliere, Conyus and Scriabin, and there was fruitful contact and friendship with Tchakovsky and Taneyev.

He appeared as a conductor at concerts, notably of the Russian Choral Society, and his connection with church music led to his appointment, on the recommendation of Balakirev, as director of the imperial chapel in St. Petersburg, a position he took up in 1895 and held until 1901.

His final years left him free to follow a career as a composer, pianist and conductor, brought to an end in part through his dissolute way of life. He died of tuberculosis in 1906 at the age of forty-five.

In style and technique Arensky owed much to his teachers. He developed a sure command of harmonic, contrapuntal and structural musical resources, with a lyrical facility.

These elements are at once apparent in his String Quartet No. 1 in G major Opus 11, written in 1988. This shows, from the first bars, an easy understanding of the medium of the string quartet and of the possibilities still inherent in the traditional first movement form.

The second movement opens with a melody of fine contour, before a contrapuntal element is introduced by the cello, followed by the other instruments, and a treatment of the principal melodic material with more elaborately contrapuntal accompaniment.

The mood changes with a light-hearted Menuetto and contrasting Trio.

A Russian element makes its appearance in the Finale, with its variations on a Russian theme. These bring their surprises, not least in the traditional folk texture suggested by the plucked accompaniment in one variation and the later fragmentation of the theme, before a cadenza and the return of the theme in a mood of mounting excitement, leading to an emphatic and vigorous conclusion.

Arensky’s String Quartet No. 2 in A minor, Opus 35, was written in 1895 and in its first movement presents a more somber atmosphere, lightened by secondary material, dramatically developed, but returning to its initial mood.

The theme of the second movement is stated simply, before its elaboration in a series of variations with the theme taken by each instrument in turn, before the possibilities of plucked strings and further textural resources are explored in a spirit that ventures far from the original material, sometimes with the energy of a scherzo, then relaxing into a gentler lyrical and eventually somber mood.

The third movement continues in its opening bars the Russian idiom, already heard in the theme of the second. The introduction is followed by what promises to be a vigorous fugue, on a Russian subject, superseded by a reminiscence of the melancholy of the opening of the quartet and followed by an energetic and triumphant conclusion.

The Piano Quintet in D major, Opus 51, was written in 1900.

The piano starts the first movement, soon joined by the string instruments in a historic opening of a texture that recalls that of Schumann’s Piano Quintet. Here, too, the piano plays a virtuoso part, whether in accompaniment or in the statement of thematic material.

The second movement is again in the form of a theme and variations, the former entrusted first to the strings, before the lyrical intervention of the piano, followed by a turn to the more dramatic, a change of mood to the solemn and then to the lyrical. The piano moves on to a recreation of Chopin, in romantic partnership, and then to music of greater vigor, subsiding into the language of the opening.

The capricious Scherzo breaks in, interrupted in its turn by a peaceful trio that brings momentary serenity here and when it returns after a repetition of the Scherzo, which itself has the last word.

A subject of Baroque contour introduces the last movement fugue, but the rigors of counterpoint are later submerged in a thoroughly romantic conclusion.

TRACK LISTING:

1-4: String Quartet No. 1 in G Major, Op. 11
5-7: String Quartet No. 2 in A Minor, Op. 35
8-11: Piano Quintet in D Major, Op. 51

FINAL THOUGHT:

Look, I’m not going to slam Arensky too much here (he got enough of that in his life from the asshole Rimsky-Korsakov) but considering he was living a pretty wild life away from work (gambling, drinking like a fish, etc. etc.) the String Quartets are pretty boring. I’ll cut the Piano Quintet a little more slack because I just love piano quintets as a genre (for my money, there is nothing much better than the Shostakovich Piano Quintet – which I’ll get to in about two years!). Unfortunately for Arensky and his legacy – these are works you just don’t want to listen to that much.

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

February 5, 2013June 23, 2021

Anton Stepanovich Arensky – The Piano Trios

Anton Stepanovich Arensky (1861-1906)

Piano Trio No. 1 in D Minor, Op. 32

Piano Trio No. 2 in F minor, Op. 73

Beaux Arts Trio

Recorded at Performing Arts Center, Purchase College, USA – June 1994 (Philips)

ONE-SENTENCE REVIEW:

Dude can write one hell of a gloomy melody – perfect for staring out an icy window at the frozen Moscow River on a miserable Sunday afternoon.

ORIGINAL LINER NOTES (by David Brown):

“In his youth Arensky did not escape some influence from me; later the influence came from Tchaikovsky. He will quickly be forgotten.” Thus Rimsky-Korsakov, not without a touch of pique, delivered his verdict upon his former pupil.

Born in 1861, Arensky had become Rimsky’s composition student at the St. Petersburg Conservatory, but on graduating brilliantly with a gold medal in 1882, he had been appointed a professor at the Moscow Conservatory, where he was to teach both Rachmaninoff and Scriabin.

Removal to Russia’s old capital brought Arensky into contact with Tchaikovsky, and the natural creative affinity between the two men fostered mutual friendship. Rimsky’s influence faded, and Tchaikovsky became not only the most potent single force within Arensky’s music but also his staunchest supporter.

After Tchaikovsky’s death Arensky composed his Second String Quartet as a memorial, producing in the string orchestra arrangement he later made of the quarter’s slow movement (Variations on a Theme of Tchaikovsky) one work that has remained firmly in the repertoire.

Nor has Arensky’s First Piano Trio suffered the fate Rimsky had so balefully predicted for his music generally. Composed in 1894, this too was a memorial work, this time for the cellist Karl Davidov, who had also been a kindly director of the St. Petersburg Conservatory during Arensky’s student years.

It is a splendidly accomplished piece – and also eclectic; sometimes, for instance, the first movement of Mendelssohn’s First Piano Trio, also in D minor, seems to lurk behind Arensky’s opening Allegro moderato. But where Mendelssohn was urgent, Arensky gives his first theme a gentle and very characteristically elegiac tone, and his inventiveness is powerful enough to ensure that what follows has clear individuality, even though it may lack the sheer personality of a Tchaikovsky – or Rimsky.

Arensky’s craftsmanship and clarity of thought are always impeccable, and this precision is even more evident in the scherzo. Not a note is wasted in this enchanting confection built largely from a little stuttering figure (which later nearly gives birth to a more extended melodic idea), flying scales, and sparkling piano figurations.

The centre betrays the trio’s most explicit debt to earlier music, but this powerful echo from the second movement of Saint-Saens’ Second Piano Concerto develops into a kind of lurching waltz very much Arensky’s own. There is careful revision of scoring when the scherzo returns, and a brief coda is added so that the movement may flicker into silence.

The heart of this memorial trio is the slow movement.

Deeply elegiac it certainly is – but not funereal; it parades no formal grief, but rather seems to reflect on precious personal memories. With its tender central section, it is surely as affectionate a tribute as any many could wish for.

Nor does the final movement end with any tone of heavy lamentation. Nevertheless, the more lyrical tune that alternates with the forthright opening music harks back to the main theme of the Elegia, preparing us for the explicit recall of the gentle music from that movement’s centre.

There follows a recollection of the whole trio’s beautiful opening melody, its sadness enhanced by a delicately chromatic harmonization before a vigorous return to the finale’s opening material rounds off the whole work.

In 1895, a year after completing his First Trio, Arensky moved back to St. Petersburg to become director of the Imperial Chapel choir. He remained in the post six years, retiring in 1901 with a pension. He was not free to pursue very successfully his career as pianist and conductor, and to compose at will.

But his lifestyle had long been disorderly; drinking and an addition to gambling had undermined his health, and early in 1906 tuberculosis finally claimed him.

His Second Piano Trio of 1905 was therefore one of his last works. The work’s subsequent fate would seem to substantiate Rimsky’s prediction; in fact, its almost total disappearance from the repertoire has been very much our loss.

It would be facile to label this music autumnal, but thoughtful it certainly is. The clear sectionalism of the D minor Trio’s first movement here gives way to a more continuous, more spacious flow, and the opening five notes of the theme quietly enunciated by the piano become a pervasive presence (and also a motto motif that insinuates itself into the following three movements).

Other motifs are gathered along the way to contribute their part in generating an unobtrusively magisterial movement as fine as any from a Russian of Arensky’s generation.

After such an impressive utterance, the main theme of the Romance might seem to promise something jejune, for all the telling harmonic detail in the accompaniment.

But the scale to which this theme grows confirms that Arensky’s greatest single asset was his melodic gift, and that gift is here confidently deployed to sustain the formidable span of an entire movement, braced the more firmly by the four haunting recurrences of the introductory four bars (the motto motif is heard just before the first theme returns for the last time).

The dazzling scherzo is as fleet and economical in texture as its counterpart in the First Trio, though its centre, with its disarmingly simple melodiousness, is more of a contrast (the motto motif quietly infiltrates this melodic flow at about midpoint).

After a truncated repetition of the scherzo, the finale’s quietly complex theme, with its contrapuntal opening and fastidious harmonic detail, might seem to be intractable material for variation treatment. But Arensky’s resourcefulness is equal to the challenge (especially in the weird valse of the third variation).

Several of the six variations seem deliberately to hard back to kinds of music heard in the preceding movements, and at the end of the grandiose final variation the motto motif builds a bridge to the coda, which returns to the reflective mood in which the movement had opened, drawing this sadly neglected work towards a muted but most satisfying resolution.

TRACK LISTING:

1-4: Piano Trio No. 1 in D Minor, Op. 32
5-14: Piano Trio No. 2 in F minor, Op. 73

FINAL THOUGHT:

Poor Arensky. So good but so flawed. Damn alcohol. Makes me so sad I need a really big drink (maybe at lunch!). But Anton Stepanovich did rate high enough to make it into the lyrics of a Kurt Weill and Ira Gershwin song (Tchaikovsky) and that’s good enough for me!

“There’s Malichevsky, Rubinstein, Arensky, and Tschaikovsky, Sapelnikoff, Dimitrieff, Tscherepnin, Kryjanowsky, Godowsky, Arteiboucheff, Moniuszko, Akimenko, Solovieff, Prokofieff, Tiomkin, Korestchenko…”

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)