Piano Trio in E-Flat Major, Hess 47; Piano Trio in D Major, Kinsky/Halm Anhang3; Piano Trio in E-Flat Major, Opus 63. The Beethoven Project Trio. Cedille CDR 90000 118.
This Cedille disc is for Beethoven fans who want to hear everything the man might ever have written, for audiophiles who want to hear the best in sound reproduction, and for music lovers who simply want to hear some lovely tunes. In any case, the listener can't lose.
The Beethoven Project Trio are a Chicago-based ensemble formed in 2008 and comprised of George Lepauw, piano, Sang Mee Lee, violin, and Wendy Warner, cello. Their goal is to explore Beethoven's trios within the context of all the trio works that have come after them. However, they do not confine themselves entirely to Beethoven and have branched out into Brahms, Mozart, and Schubert. For the present historic recording, Mr. Lepauw plays a Fazioli concert grand, model F278; Ms. Lee plays a 1713 Cooper-Hakkert Stradivarius; and Ms. Warner plays a 1772 Giuseppe Gagliano, all on generous loan.
In the program, we get three Beethoven trios, all of them unique in their own way. Things begin with the Trio for Piano, Violin and Cello in E-Flat Major, Hess 47, "an original arrangement by Beethoven himself, from his String Trio Opus 3," 1794. It is a single movement lasting about twelve minutes, lost and forgotten for quite a while and here receiving its world-première recording. It did not get a printing until 1920, and there is as yet no performance edition available (although the International Beethoven Project is preparing one for publication before the end of 2010). At any rate, the little work is brisk and sprightly and thoroughly delightful, at least in the hands of the Beethoven Project Trio, who play it as though they had been performing it all their lives.
Next comes the Trio for Piano, Violin and Violoncello in D Major, Kinksy/Halm Anhang 3, 1799. It is in two movements, an Allegro and a Rondo, of a little over six minutes each. The work seems a bit more demanding than Hess 47, and the Trio play it with great skill. But in actuality, two pages of the score were missing, reconstructed here by Robert McConnell and recorded in its present overhauled state for the first time. For a time scholars thought that Mozart might have written the piece, and maybe he did, but most authorities today attribute it to Beethoven. Its breezy, infectious Rondo is absolutely charming.
Finally, we have the Trio for Piano, Violin and Violoncello in E-Flat Major, Opus 63, from 1806, apparently a transcription by Beethoven from his own String Quintet Opus 4 of 1795, itself an arrangement of his earlier Wind Octet. Again, there has been some controversy over the years about whether the composer had anything at all to do with it. Present-day scholars, though, generally accept that Beethoven transcribed it himself, and the Beethoven Project Trio gave it its American première performance on March 1, 2009.
The Trio in E-Flat Major is in four movements and lasts a total of about thirty-four minutes. As in the other works, the Beethoven Project Trio are light and bright and deliver a glowing performance, with the Andante in particular lilting and graceful.
The Cedille audio engineers miked the Trio's three instruments fairly close-up, yet they are not in-your-face close. Recorded in 2009 at the American Academy of Arts and Letters in New York City, the sound is always warm and smooth while still displaying plenty of detail and air. What's more, the acoustic offers a radiant ambient glow that is most realistic and appealing.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
Readers with polite, courteous, helpful letters may send them to firstname.lastname@example.org.
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to email@example.com.