Opus 070 – 2 Trios in D major and E flat major for piano, violin and cello
Opus 70, 2 Trios in D major and E flat major for piano, violin and cello, op. 70, dedicated to Countess Erdödy, 1808 (no later than late autumn), published in Leipzig, Breitkopf and Härtel, June-August 1809. GA. no. 82, 83 (series 11/4-5) – B. 70 – KH. 70 L. III, p. 120 – No. 70 – T. 139
The original manuscript of the first Trio, which once belonged to Max Friedländer’s collection in Berlin and later to his widow in Hollywood, was subsequently sold to private owners in New York and has not been heard of since; the manuscript of the second Trio is preserved in the Deutsche Staatsbibliothek in Berlin. Sketches of both are contained in the Pastoral Symphony notebook (see no. 447 and following).
The theme of the second movement of the Trio in D major also appears, as noted in the previous entry, among the sketches for Unvollendete 16 Ouverture for an opera “Macbeth” (previously Biamonti 454). Within the set of Beethoven’s six Trios for piano, violin and cello — ranging from the three youthful works of Op. 1 (1793–1794) to the last of Op. 97 (1811) — the two middle Trios of Op. 70 are distinguished more by the pleasantness and fluency of their discourse than by expressive intensity.
The sole serious movement (the Largo of the first Trio) possesses a distinctive character all of its own that sets it apart from all the others. One might think that the breadth and variety of content of the Trios of Op. 1 link them — with all the formal and ideological refinements and deepening developed over fifteen years of artistic evolution — rather to Op. 97 than to Op. 70.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 70 Zwei Trios (D-dur, Es-dur) für Klavier, Violine und Violoncello Widmung: Anna Maria (Marie) Gräfin Erdödy NGAIV/2 AGA 82-83 = Serie 11/4-5 Beiname: Nr. 1 Geistertrio (nach dem Charakter des 2. Satzes).
Creation and Publication: the sketches date mainly from 1808. Both trios were completed in the same year, as in December Johann Friedrich Reichhardt heard them performed at a concert at Countess Erdödy’s. The Leipzig edition was published by Breitkopf & Härtel in July and August 1809, and the original Vienna edition by Artaria in March 1810. At the end of July 1808 Beethoven offered Op. 70 to Breitkopf & Härtel as „zwei Trios für Klawier Violin und Violoncello (da daran Mangel ist)“ (BGA 331). He also wrote that the engraving plates would be delivered „in einigen Wochen“. The contract was signed on 14 September 1808 (contract and receipt for payment of 100 gold ducats preserved in D-BNba, HC Bodmer collection, Br 72 and 73). By January 1809 the engravings were probably already in Leipzig, as Beethoven wrote to Gottfried Christoph Härtel: „sie haben doch die Terzetten erhalten — Eins wissen sie war schon bey ihrer abreise fertig, ich wollte es aber erst mit dem Zweiten schiken dieses war auch schon ein paar Monathe fertig, ohn daß ich weiter dran dachte, ihnen solches zu schiken“ (BGA 350). The publisher was informed of the dedication and opus number on 4 March 1809: “Die Trios werden gewidmet Ä Madame la Comtesse Marie d’Erdödy nee Comtesse Niczky Dame de la Croix / op. 62“ (BGA 359). Beethoven’s request, expressed the same month, to send him the proofs of the trios nevertheless, was not honoured by the publisher (BGA 370). Requests for additions and corrections sent on 20 April were only partially taken into account in the original edition (BGA 380). On 26 July Beethoven reported to Leipzig that the first trio had arrived with the Viennese merchants but that he had not yet received any printed copies (BGA 392).
Dedication: Anna Maria (Marie) Countess Erdödy, née Countess Niczky, was born on 21 August 1778 at Susevo Castle (Ligvand, today Nebersdorf in Croatian Burgenland) and died on 17 March 1837 in Munich. She was the daughter of Count Georg Niczky von Niczk and his wife Franziska Xaveria née Batthyany (d. 1828). She married Count Peter Erdödy zu Monyorokerek und Monte Claudio (*1771) on 6 June 1796, from whom she lived separated since 1805. The countess was a skilled pianist and often held concerts in her Viennese apartment at Krugerstrasse 1074, in which Beethoven also performed. Towards the end of 1808/09, Countess Erdödy, together with Ignaz von Gleichenstein (see Op. 69), played a role in organising the contract by which Prince Kinsky, Prince Lobkowitz and Archduke Rudolf promised Beethoven an annual pension of 4000 florins. Beethoven lived with her from autumn 1808 but moved away again in spring 1809 due to an argument over a servant. After reconciliation in 1810, another break apparently occurred. Their relationship was not resumed until March 1815. At that time, the countess was living in Jedlesee near Vienna. In autumn 1815 she travelled to Croatia (Schloss Paucovec), then Italy (Padua), and finally back to Vienna for a short period; from 1817 to 1819 she stayed again in Croatia. In 1820 Countess Erdödy became the victim of a family intrigue. Her husband, Count Peter Erdödy, had already transferred his property to her in 1811 due to his large debts. In 1820 her family attempted to regain control of these possessions and accused the countess before the authorities of various offences, including charges of immorality. Joseph Xaver Brauchle, officially the educator and music teacher of her children, lived with Countess Erdödy. Unofficially, it was said they had a love affair.
Apparently Beethoven was aware of this, as in a number of letters to Countess Erdödy he made spicy allusions (see, for example, his wordplays on Brauchle in BGA 934). However, it is also plausible that Brauchle cared for the countess, who had been seriously ill and often bedridden since the late 1790s, and thus depended on his assistance (Beethoven’s wordplays may refer to this situation). Brauchle was also prosecuted in 1820. He was (probably wrongly) accused of having mistreated Countess Erdödy’s son August to death and of having behaved inappropriately towards her daughter Mimi. The trials and accusations were discussed in Vienna, and Beethoven also discussed them with the cellist Joseph Linke on 19 August 1820 (BKh 2 p. 211). At the end of 1823 the countess left Vienna and moved to Munich; Brauchle accompanied her. The dedication of the trios to Countess Erdödy (BGA 359) was communicated to Breitkopf & Härtel on 4 March 1809. Beethoven wished to cancel it on 20 April in favour of Archduke Rudolf: „wenn der Titel noch nicht fertig wünschte ich, sie machten die Dedication nur gerade an den Erzherzog Rudolf, Wovon sie den Titel von dem Konzert in g [Op. 58], welches im Industrie Komtoir hier gestochen ist, nur ab kopiren lassen könnten, ich habe einigemal bemerkt, daß eben, wenn ich ändern etwas widme, und er das Werk liebt, ein kleines Leidwesen sich seiner Bemächtigt, diese Trios hat er sehr liebgewonnen, Es würde ihm daher wohl wieder schmerzen, wenn die Zuschrift an jemand ändern ist, ist es aber geschehen so ist nichts mehr zu machen“ (BGA 380). This change was not incorporated into the original edition. Besides the Op. 70 trios, Beethoven also dedicated the cello sonatas Op. 102 (1819, original Vienna edition by Artaria) and a Canon for New Year’s Eve 31 December 1819 (WoO 176) to the countess.
The first public performance of one of the trios (probably No. 1) took place in a public concert perhaps on 16 April 1809 by Nikolaus Zmeskall in Vienna (BGA 376 and 377). The performers were Beethoven, Ignaz Schuppanzigh and Anton Kraft. According to Johann Friedrich Reichardt, in December 1808 Countess Erdödy performed several times with Beethoven at the piano and members of the Schuppanzigh Quartet: the Trio No. 1 was performed. „Einige Tage später hatte mir Beethoven die Freude gemacht, dasselbe angenehme Quartett zur Gräfin von Erdödy einzuladen, um mir etwas Neues von seiner Arbeit hören zu lassen. Er spielte selbst ein ganz neues Trio für Fortepiano, Violin und Violoncell von großer Kraft und Originalität, überaus brav und resolut“ (letter of 10 December 1808, Reichardt/Briefe Vol. 1 p. 209). Later he says: „Einen zwiefachen musikalischen Abend habe ich wieder gehabt. Erst ein Quartett bei der Gräfin Erdödy. Beethoven spielte ganz meisterhaft, ganz begeistert, neue Trios, die er kürzlich gemacht, worin ein so himmlischer kantabeler Satz (im Dreivierteltakt und in As dur [Nr. 2/III]) vorkam, wie ich von ihm noch nie gehört […] Er wird die Trios nächstens in Leipzig stechen lassen“.
Opus 70 number 1 Trio in D major for piano, violin and cello
I) Allegro vivace e con brio – II) Largo assai ed espressivo –
III) Presto
The prevailing character of the first movement is one of festive impetus and lightness. Consider the formation of the two principal themes: the first, in two parts, one rhythmically lively, the other melodic, which intertwine deftly during the development; the second, with its levitating figure soaring above a flowing legato movement, gliding up to the softened cadence. The second movement, as mentioned, is a sui generis page.
One might think of a connection to some impression from Shakespeare’s Macbeth (hence the title “Ghost Trio,” by which the entire composition is often known); yet, independently of this, one cannot fail to recognise something ghostly within the music itself, arising and recurring continually as a bleak melodic motif—like an image faintly outlined against a dark background, vainly attempting to gain some substance before collapsing helplessly upon itself; then re-forming, striving once more to spread light and warmth, only to sink back and vanish into darkness: the palpitation of a heart overwhelmed from birth by an inherent incapacity for expansion; the pulsation of a life living only in memory or in attempted expression.
A certain expressive analogy may be found in two other Beethoven pieces in the same key of D minor, albeit less lugubrious (but more intimately sorrowful): the Largo of the Piano Sonata Op. 10 No. 3, and the orchestral episode that comments on the death of Chiarina in Egmont. The festive impetus (though here of a more facile flow) links the third movement to the first, also connected by a certain similarity in the opening impulsive theme.
Opus 70 number 2 Trio in E flat major for piano, violin and cello
I) Poco sostenuto – Allegro, ma non troppo – II) Allegretto – III) Allegretto, ma non troppo – IV) Presto
This movement is more homogeneous than the preceding one in the coherence of its four movements: the first and last are richer, while the second and third possess a delicacy of workmanship inherent to a character of refined amusement rather than deep inward expression. The Allegro ma non troppo is preceded by a slow introduction (Poco sostenuto), which later provides the material—recast in a different figurative form—for the entrance of the second theme and also reappears, in abbreviated form, at the end of the recapitulation before the conclusion. This lends the whole a greater formal appeal without increasing its substantive weight. The development and the first part of the recapitulation reveal the subtlety of the thematic elaboration.
The Allegretto is said to be based on a Croatian folk song theme, heard by Beethoven during a stay in Hungary, treated in a series of variations that repeatedly echo the figure without ever descending into monotony or saturation: a purely musical enjoyment in the repose of all emotion, in the pleasure of sound and rhythm, which thus calls to mind certain pages of Haydnian serenity.
The third movement takes the form of a Minuet, pastoral in character in the first theme, and in the second reminiscent of a well-known Haydn melodic motif, which Beethoven also introduced in other compositions. The Trio, in the alternation of small elementary phrases that answer one another, harmonically completed from violin and cello to piano, first in E major and then in A major, likewise follows a familiar Beethovenian structural model; yet the concluding section and the subsequent cadenza passage leading back to the reprise of the first two parts present an original character of languor.
The interest of the finale (Allegro), livelier and more robust than that of the previous trio (an evident analogy also links here the melodic element of the opening theme with that of the other), is heightened by the introduction, as a second theme, of a motive of folk song or dance, likewise believed to be of Croatian derivation.
The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org
