BEETHOVEN - TRIOS FOR CLARINET, CELLO & PIANOFORTE

The Trio retains the structure of op. 20, that of a divertimento in six movements in the Viennese tradition. It is introduced by a brief Adagio asserting the key of E-flat in energetic tones, though from the eighth bar onward it is anchored to a dominant pedal. This is Beethoven’s way of creating desire for the first movement to get underway. In duple time, with a minim beat in Allegro con brio, its sonata form unfolds effortlessly and without histrionics. The cello, more regularly independent than in op. 11, makes a point of fulfilling its role of ‘concertans’.

Based in its entirety on the sublime theme set out by the clarinet, the following slow movement – Adagio cantabile – at once lets the performers quench any thirst for melody. The Minuet, rubbing shoulders with its romantic usurper the scherzo, is barely over when the Andante con Variazioni theme in B-flat enters, seemingly issuing directly from the previous movement. It is, however, a real Rhineland boatsman’s song, a favourite of the composer, that forms the basis for these colourful variations. After displaying a fine palette of invention, the cycle brings in a whirling Scherzo that, with its close play between piano and clarinet, is full of verve and even humour. In the Trio, Beethoven gives the clarinettist a momentary break, well deserved in view of the work’s length.

To conclude, a short and fairly dramatic march leads to a delightful finale marked Presto, in moto perpetuo in which Beethoven manages to present a joy in life that was for him under such pressure at the very moment he was writing down this trio version. Nevertheless op. 38 marks a definite transition: classicism was dying. Soon, feelings would no longer be allowed to dress up in antique clothes.

Michel Stockhem Translation: Jeremy Drake