Trios for Pianoforte, Violin and Violoncello op. 1 贝多芬 钢琴三重奏小提琴大提琴 骑熊士版

1793年，Artaria曾以极具象征意义的作品编号1出版过贝多芬的莫扎特咏叹调变奏曲。然而，作曲家对这部作品并不满意，并确保将作品编号转移到 1795 年出版的另一组作品上，即三首钢琴三重奏作品 1。他希望这些作品能够配得上他的 "作品 1"，并能给人留下深刻印象。三重奏首版印刷版的订户名单令人印象深刻，因为其中包括一些有影响力的贵族，他们中的许多人作为海登作品的献礼人，与海登有着千丝万缕的联系。显然，海登在这里向他以前的学生伸出了援助之手。此外，从三重奏的许多方面也可以发现海登在作曲上对贝多芬的影响。然而，让早期维也纳听众感到震惊和欣喜的最终还是那些创新元素：作品异常庞大的演奏技巧和范围、外乐章史无前例的延长尾声、激进的动态对比以及作为音乐表现手段的远调式的引入。为了澄清一些不明确的解读，编者和贝多芬专家乔纳森-德尔马参考了贝多芬在其作品 104（三重奏作品 1 第 3 号的改编曲）中的标记--这是此前任何版本的三重奏作品都未曾考虑过的数据源

作曲家: Beethoven Ludwig van
改编者: Del Mar, Jonathan
乐器: piano trio
出版社: Bärenreiter Verlag
原文简介:
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.