“And yet, the music is not outside of ourselves. It mirrors truths about who we are as individuals and as a society.”
- Yael Weiss
Op. 70, No. 1 “Ghost”
The collection begins with an energetic, well-balanced lift off. It’s clear from the git-go that pianist Yael Weiss, violinist Mark Kaplan and cellist Peter Stumpf are of one mind for texture, tone and–notably–dynamics. The lines are seamlessly handed off amongst the performers with only a couple of somewhat rushed moments causing any concern. Thankfully, all of the repeats are taken!
The central movement with its decidedly mysterious atmosphere readily lives up to this trio’s nickname. The intensity builds palpably, even as a smattering of affectation momentarily stalls the forward thrust. The coda is bound to captivate any listener, marvellously ushering in a thoughtful adieu.
The closing Presto offers a welcome playfulness, ideally balancing the drama that proceeded. There’s also an appropriately conversational tone when needed. A fine finish indeed.
Ten Variations in G Major on “Ich bin der Schneider Kakadu”, Op. 121a
After an engagingly dramatic opening, replete with just the right amount of weight on the leading tones, only a tad more “sting” on the sforzandi could have improved the result. All the better to realize the contrast once the sprightly theme was revealed.
From there, everyone had a chance to shine. Weiss with a wonderfully nuanced p/dolce in I. Kaplan tossing off the busy triplets as child’s play (they aren’t!) in II, and Stumpf veritably singing through III.
The remaining variations are full of catch-me-if-you-can fun, a wee bit of grace note imbued sauciness, textbook counterpoint and the obligatory excursion into the minor mode. All combining to set the stage for a celebratory conclusion that deftly puts the theme’s multiple transformations to a most satisfying end.
Piano Trio in E-flat Major, Op. 1, No. 1
The first of Beethoven’s official publications (1795, some works without opus already existing) admirably demonstrates the talent thus far and the promise to come.
The opening Allegro happily betrays the composer’s youth and exuberance. The players immediately capture this feeling–especially when dry, lean triplets are called for. The development’s harmonic excursions, heard in retrospect, foreshadow the more adventurous shifts in the years ahead.
The Adagio cantabile more than lives up to its name beginning with a calm, unrushed controlled opening that never lets down. The feeling of entre amis can be heard and felt in every bar. The music box like lead into the gentle return speaks volumes in its quietude.
The Scherzo overflows with youthful zest and joy, only needing total unanimity on the forward-moving downbeats to achieve perfection. No worries, the reposed Trio becomes the delicious sorbet to all that came before the coda settles everyone down for the fireworks to come.
At times impish, then forceful, the finale’s near-constant variety can’t fail to delight every ear–especially when the remote key of E major slips into the mix.
“Here, the only thing that can make a performance more compelling is to have a deeper understanding of the inner truth of music, an understanding that cannot be simulated merely by playing the music in a juicier way.”
- Mark Kaplan
Piano Trio in G Major, Op. 1, No. 2
This second excursion back to the master’s youth begins with a curious mix of confidence and uncertainty (Adagio), fully resolved after a superb transition to the Allegro that has to be at “C” before an aha! moment when G major is confirmed. Overall, it’s more of a piano concerto, but, nonetheless, the “orchestra” never fails. The development is notable for its harmonic and rhythmic variety as well as the effective use of one of Papa Haydn’s most useful tools: silence.
In the remote key (deliciously so) of E major the Largo con espressione comes to life as Weiss artfully sets the tonal stage with aplomb, before her colleagues join in to produce a triple dose of delicatissimo. A few measures of music-box moments add much to the mix, leading to a masterful return that could only benefit from a wider dynamic range.
The somewhat subdued frolic of the Scherzo yields just the right balance to its more serious predecessor. The Trio, most certainly more dramatic, still maintains a welcome lightness, then the coda is simplicity itself.
“And they’re off” could well describe the immediate excitement of the Finale. At times, there’s an almost circus-like charm that can’t fail to raise a smile. The only challenge is discreetly establishing just where the downbeat falls in the main theme’s repeated notes.
Piano Trio in B-flat Major, Op. 97, “Archduke”
Probably the best-known composition of them all, this magnificent work is deservedly so.
The key to the Allegro moderato is the adjective. A gentle, unhurried approach is wanted and found in abundance here. The second subject will charm any heart. The only quibble is the exactness of the triplets when sounded together. Stumpf delights with his warmth and well-rendered pizzicati; Weiss’ extended trills are a model of composure, all while Kaplan seamlessly “glues” the ensemble together.
The appropriately light and dry Scherzo (expertly balanced by legato sections as required and the–by now trademark–key shifts: from B-flat minor to E major) keeps the ear constantly engaged on the journey.
Perhaps the most memorable movement of the 3-disc set can be found in the Andante cantabile. Semplice indeed, just let it move forward and breathe: they did! Soon followed by much-wanted triplets, ideally delivered counterpoint, impish conversation and quietly pulsating syncopations, the combined result is nothing short of magical.
Not skipping a beat into the closing Allegro moderato, there’s no better descriptor than “Let’s celebrate” as all listeners will from stem to stern.
“Playing Beethoven’s music connects directly to my soul and the full range of human emotions. Its power awakens me to my humanity.”
- Peter Stumpf
Piano Trio in C minor, Op. 1, No. 3
In his, arguably, most dramatic tonality of his career, the ever-so familiar first theme invites everyone “to the dance”. It’s dramatic for sure, but, once in a while, verging on the edges of melodrama (Ah, youth!). From the proponents, there is energy to burn coupled with just the right amount of hesitato before the harmonic shifts, soon to welcome in the warmth of the excursion to the major.
The variation movement offers a thoughtful innocence in the vrai cantabile theme. Highlights from the variants include an enjoyable chat amongst friends (I), delectable pizzicati letting the flawless piano shine (III) and fanciful contrasts (V). All of this leading towards a gentle reflection and very fond farewell in the coda.
The only disappointment is the Menuetto, needing even a hint of weight in the downbeats to give comfort to listeners’ sense of “where are we?” and, once of many times, the need to lean into the augmented sixths’ direction rather than just executing them (in my conducting days, I discovered this technique from the likes of Kazuyoshi Akiyama and Leonard Bernstein).
The finale, a veritable “sturm und drang” engages any ear from the opening salvo. The lovingly rendered second subject is a moment to behold, only outdone by the enticing transitions to D flat major and B minor. The reluctance of the coda seems entirely correct; we’d all rather have a bit more.
Fourteen Variations in E-flat Major, Op. 44
Easily the most inconsequential composition of the lot (but to be clear, most other composers would be proud to count it as amongst their oeuvre), the theme starts off in nearly a total unanimous delivery, if feeling just a tad rushed. Variation II is readily the highlight, but (back to Bernstein as I wrote a study of all the fermatas in Beethoven’s symphonies, delivered at Tanglewood, but never had a chance to explore that with him before he left us), the numerous “pauses” here lack the kind of unanimity that I imagine the marking silently demands.
Piano Trio in E-flat Major, Op. 70, No. 2
The final opus of this set begins with a tantalizing, searching Poco sostenuto that soon morphs its way into ready, set, Allegro! From there, it’s almost exclusively magnificent moments of happiness and joy, save and except the transitions which harken back to the initial thrust. The development becomes a marvel of texture, tone and mode seemingly child’s play in the ever-capable hands of the performers.
“Just so” declamation instantly informs the Allegretto: no mess, no fuss, no bother–do enjoy (especially the back-and-forth transitions from triplets to duples).
As is his wont, Beethoven provides a Song Without Words for the Allegretto ma non troppo–feel free to provide your own texts–I dare anyone not to smile at this rendition. As he has numerous times before, Kaplan is the model of discretion when artfully slipping portamenti into the lines.
The Finale literally redefines, “Let’s go!” It seems the master is trying to outdo himself with contrasts (he does), also managing a few instances of “Where now?” before lighting a match under the development’s episodes. All ends well, but many listeners will be wanting to play the repeat button and hear it all again. JWR