Storioni Trio Archives - NativeDSD Music

“Beethoven Piano Trio’s: No.2 in E flat, Op.1 No.2 & No.5 in D, Op.70 No.1 “Ghost”

Sjoerd Staal — Sat, 16 May 2015 00:00:00 +0000

On May 9, 1795, the publishing house Artaria placed an advertisement in the Wiener Zeitung announcing the publication of Ludwig van Beethoven’s Opus 1, a volume containing three piano trios: anyone interested could subscribe to the volume. Orders soon came pouring in, as music lovers knew the 24 year old Beethoven to be the eccentric, yet brilliant pianist who had come to the city from Bonn to study composition with Haydn.

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Piano Trios – Nos.1 & 9

Sjoerd Staal — Sat, 16 May 2015 00:00:00 +0000

Schubert completed his two piano trios between November 1827 and November 1828, the last year of his life. Despite his ill health, he still managed to write an incredible amount of compositions, and one masterpiece after the other flowed from his pen. Apart from the trios, within a few months’ time he wrote the great Symphony in C, the three last piano sonatas, the string quintet, the Lieder cycle Schwanengesang, the Fantasie for piano duet and the Mass in E flat.
Partially due to his awareness of his position as Vienna’s most prominent living composer, Schubert worked with confidence. His distinguished fellow citizen, Beethoven, had died on March 26, 1827; and Schubert had paid his respects to him by acting as torch-bearer at his funeral. After receiving a couple of requests in February 1828 from the music publishers Schott from Mainz and Probst from Leipzig to write some new works, Schubert happily offered them a series of new and substantial compositions two months later. However, the reactions must have disappointed him.

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Piano Trio No. 1 in B, Op. 8, Piano Trio No. 2 in C, Op. 87

Sjoerd Staal — Sat, 16 May 2015 00:00:00 +0000

For years, Brahms was known as a composer with a traditional bent, who had little time for progressive contemporaries such as Wagner and Liszt. Yet in his essay Brahms the Progressive, dating from 1933, Schönberg took a surprisingly different position. He spoke highly of Brahms as an innovator for various reasons: for his audacity in choosing asymmetrically structured phrases, for his systematic construction of the compositions and for the ingenious manner in which he managed to re-use a motif or theme in a constantly different form (he called the technique: ‘developing variation’).

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Triple Concerto & Archduke Trio

Sjoerd Staal — Tue, 23 Sep 2014 00:00:00 +0000

The piano trio was the ensemble type with which Beethoven opened his series of works published with opus numbers in Vienna in 1795. In his Triple Concerto, published as Opus 56, Beethoven confronts this genre with a large orchestra. Anton Schindler, since 1822 Beethoven’s self-named secretary and also his first, sadly all too often untrustworthy biographer, stated that the piano part of the trio instrumentation was specified for Archduke Rudolf; but the facts do not support this. The Archduke was only sixteen years young when the work was written around 1804, a year marked by the composition of the Third and Fifth Symphonies, Fidelio and the “Appassionata”, and when the Triple Concerto was put to print in 1807 the piece was dedicated not to a schoolboy from the Imperial House, but to another member of the high nobility and confidant of the composer, Prince Lobkowitz.

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