Trios for Pianoforte, Violin and Violoncello op. 1 貝多芬 鋼琴三重奏小提琴大提琴 騎熊士版

1793年，Artaria曾以極具象徵意義的作品編號1出版過貝多芬的莫札特詠歎調變奏曲。然而，作曲家對這部作品並不滿意，並確保將作品編號轉移到 1795 年出版的另一組作品上，即三首鋼琴三重奏作品 1。他希望這些作品能夠配得上他的 "作品 1"，並能給人留下深刻印象。三重奏首版印刷版的訂戶名單令人印象深刻，因為其中包括一些有影響力的貴族，他們中的許多人作為海頓作品的獻禮人，與海頓有著千絲萬縷的聯繫。顯然，海頓在這裡向他以前的學生伸出了援助之手。此外，從三重奏的許多方面也可以發現海頓在作曲上對貝多芬的影響。然而，讓早期維也納聽眾感到震驚和欣喜的最終還是那些創新元素：作品異常龐大的演奏技巧和範圍、外樂章史無前例的延長尾聲、激進的動態對比以及作為音樂表現手段的遠調式的引入。為了澄清一些不明確的解讀，編者和貝多芬專家喬納森-德爾馬參考了貝多芬在其作品 104（三重奏作品 1 第 3 號的改編曲）中的標記--這是此前任何版本的三重奏作品都未曾考慮過的資料來源

作曲家: Beethoven Ludwig van
改編者: Del Mar, Jonathan
樂器: piano trio
出版社: Bärenreiter Verlag
原文簡介:
Artaria had already published variations on a Mozart aria by Beethoven in 1793 under the highly symbolic opus number 1. However, the composer was not satisfied with this work and ensured that the opus number was transferred to another group of works which appeared in 1795, the three Piano Trios op. 1. His hope that these compositions would be worthy of his “opus 1” and would make quite some impression was to be fulfilled. The list of the subscribers to the first printed edition of the trios is impressive because it includes influential aristocrats, many of whom were connected to Haydn as the dedicatees of his works. Apparently Haydn lent a helping hand here to his former student. Also Haydn’s compositional influence on Beethoven can be found in many aspects of the trios. However, ultimately it will have been the innovative elements that astonished and delighted the audience of early Vienna: the virtuosity and scope of the unusually large-scale works, the unprecedented extended coda of the outer movements, the radicality of the dynamic contrasts and the introduction of remote keys as a means of musical expression. In order to clarify some unclear readings, the editor and Beethoven specialist Jonathan Del Mar consulted Beethoven’s markings in his op. 104 (an arrangement of the Trio op. 1, no. 3) – a source that has not been taken into consideration for any previous edition of this trio.