Beethoven String Trios, Op. 9
While I hadn’t been thinking about the pedagogical approach of my music theory professor in college, he defined for us a particular canon of pieces that we would end up studying intently over the two years I had with him. The approach, of course, would be akin to using original source materials to learn history; he’d also invited some of us to perform these pieces from time to time in class. The approach was of course even stronger, akin to learning woodworking not by watching YouTube videos but by making things out of wood.
I’d gone to school with a particular set of biases. I’d started really enveloping myself into a lot of baroque music; the likes of Beethoven were too far removed from anything I was really familiar with or comfortable listening to. It would be like saying Beethoven was a world of spice I’d never really encountered before. Unlike Bach, who was like sweet candy to me, Beethoven seemed all the while more adult, more nuanced, and less open to my immediate enjoyment.
One of the many pieces we studied were the complete string trios by Beethoven. When I say that we studied them, it wasn’t so much a historical read. We had to know these pieces inside and out, the forms Beethoven referenced, the places he seemed to break the rules, the harmonic structure, the roles each instrument had throughout, and yes, we had to more of less internalized these pieces. I look back kindly now on the many listening tests we’d have. There were always ten examples, if I remembered. He’d play a 30-45 second clip and then that was it. We had to identify the piece by name and movement number. Then in the written portion of test we’d have analysis and he’d also add essay questions, too. By the time we moved on from each unit like this we’d become intimate with the works. I started to build my CD collection this way, outside of the Baroque, venturing out across all periods with pieces. If I am at honest, I can’t assuredly tell you why I love them, other than that I know them so well. That, and the fact I was experiencing a great time in school away from home and the pieces also conjure good memories.
Beethoven published in his opus 9 a set of three trios, and that is the fodder recorded on this disc by the Trio Arnold. I auditioned the album via Qobuz in hi-res FLAC (96kHz/24bit). Trio Arnold is Suichi Okada (violin), Manuel Vioque-Judde (viola), and Bumjun Kim (cello).
The cover betrays the group’s young age. I have to confess that the set I used in college was the EMI recording by Perlman, Zuckerman, and Harrell. That 2 CD set was spun so many times, preparing for that exam. At the time I was able to check out a few versions and ultimately selected the one headlined by Perlman. The only criticism I had at the time was the heavy-handedness by Lynn Harrell on the cello. One might say that he was fighting for his equal spot in the trio.
This new recording by Mirare is clear. Auditioning with headphones, the balance for me was favoring the violin on the left, which often is the dominate voice in the mix. The viola is next closest, the cello for me is far enough away to lose the same definition with articulation that is so much clearer from the violin. I am not sure this is any fault of the players, but there were times I wished the cello was more articulate and dominate in the trio texture.
The trio maintains good intonation throughout the album. What’s missing from my reference recording is the constant vibrato that is part of Perlman and Zukerman’s performance practice. It’s not that this ensemble doesn’t use vibrato; there’s a sweetness, especially to the violinist’s sound. But the kiss of historically-informed practice likely has affected their interpretation. For me, this is a good thing. The other wonderful aspect of their performance is the high dynamic range they employ. I can’t say it’s because of a higher resolution recording, I think it’s all them. For me, this music deserves strong rhythmic and dynamic vitality. It’s provided here without fail.
These elements are perhaps no better represented than in the Scherzo of the third trio. Beethoven seems to be changing the mood here, with changing scenes to convey changes in emotion which I think the trio captures so well. The dynamic contrasts, both those that come suddenly and those that build over several bars, are done with great style and control.
The Rondo of the second trio opens with the viola taking the melody. I appreciate the color and sound of the viola. Too often the viola fills out the texture and overall sound in a quartet; with only three players, Beethoven gives the limelight to the viola multiple times, and of course the cello too. Even when all three players are active, the violin, when not in the top spot, is well balanced. It gives me the sense that these musicians really know the music well and that there are not prima donnas among them.
At some 2:30 into the same Rondo, what delicious music Beethoven wrote. Upon repeated listenings it gave me the goosebumps every time.
It was through Beethoven’s string trios that I first came to see and understand his genius. While not as famous perhaps as his string quartets, symphonies, and piano sonatas, these pieces are fun, jovial, and convey an overall sense of happiness. We can’t say that was what Beethoven was feeling at the time, but audition this recording, and I think it will put a smile on your face.
Very well done, a promising release for a young trio.
