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© Nigel Parry
KAVAKOS / MA / AX
Beethoven
Beethoven Fourth Symphony opens with a brooding Adagio and gives way to a triumphant Allegro. After a rumbustious Scherzo punctuated by a slower Trio, she rounds things off with a Finale of Haydn-esque playfulness. His Piano Trio No. 7 of 1811 meanwhile is symphonic in size and conception with its four movements. A noble, spacious and often richly textured Allegro leads to a Scherzo, begun by strings alone, whose carefree lilt gets interrupted by a darker, fugal Trio.
Programme
LUDWIG VAN BEETHOVEN (1770-1827)
Symphony No. 4 in B-flat major Op. 60, arr. for piano trio S. Wosner
Interval
LUDWIG VAN BEETHOVEN (1770-1827)
Piano Trio No. 7 in B-flat major Op. 97 “Archduke”
Distribution
- Leonidas Kavakos violin
- Yo-Yo Ma cello
- Emanuel Ax piano
Hearing a symphony through the prism of chamber music may be a rare opportunity in 2023, but when Beethoven penned his Fourth Symphony in 1806, this would have been how many people heard it first. A mysterious, brooding Adagio opens, eventually giving way to a triumphant Allegro. The slow movement then contrasts a smooth, long-lined melody with a military-style march rhythm. After a rumbustious Scherzo punctuated by a slower Trio, Beethoven rounds things off with a Finale of Haydn-esque playfulness. His Piano Trio No. 7 of 1811 meanwhile is symphonic in size and conception with its four (rather than the usual three) movements. A noble, spacious and often richly textured Allegro leads to a Scherzo, begun by strings alone, whose carefree lilt gets interrupted by a darker, fugal Trio. A lyrical Andante follows, ending on a cautious question, quickly answered by the multi-faceted final rondo.
With the generous support of
Pre-concert