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Klaviertrio Nr. 5 D-Dur op. 70 Nr. 1
Katalogzettel
| Titel | Klaviertrio Nr. 5 D-Dur op. 70 Nr. 1 |
| Titelzusatz |
Piano Trio No. 5, Beginning of the 2nd movement |
| Spieldauer | 00:04:22 |
| Urheber/innen |
Beethoven, Ludwig van [Komponist/in]
[GND]
|
| Mitwirkende |
Ney, Elly [Klavier]
[GND
]
Strub, Max [Violine] [GND ] Hoelscher, Ludwig [Violoncello] [GND ] Elly Ney Trio [Trio] Electrola [Label] Electrola Gesellschaft m. b. H. [Produzent] |
| Datum |
1938.02.18 [Aufnahmedatum] |
| Ort |
Wien, Krugerstraße 10 [Ortsbezug]
|
| Schlagworte | Musik ; E-Musik ; Besetzung - Trio ; Publizierte und vervielfältigte Aufnahme |
| Örtliche Einordnung |
Wien
|
|
19. Jahrhundert
|
|
| Typ | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Nummern |
DB 4588 [Bestellnummer] 2 RA 2680 [Katalognummer] 2 RA 2680 [Matrizennummer] |
| Sprache |
Englisch |
| Signatur | Österreichische Mediathek, 2-33411_a_b01_k02 |
| Medienart | Mp3-Audiodatei |
Ehemaliger Wohnort von Anna Maria Gräfin Erdödy. Bild: CC BY-SA 3.0 AT. Österreichische Mediathek 2020.
Information
Inhalt
Beethoven first presented his Trio for Piano, Violin and Cello in D major in the winter of 1808/09. The first performance took place in Krugerstrasse in one of Beethoven’s former residences. The building was owned by Countess Marie Erdödy, to whom the trio was dedicated. The work’s nickname of the “Ghost” trio comes from a comment by Beethoven’s pupil Carl Czerny on the effect produced by the second movement. He noted that: “The character of this Largo, which should be performed very slowly, is as gruesome as a ghost; as if it were a visitation from the underworld.” This impression comes from the musical structure of the middle movement, which begins with the strings playing a pallid, drawn-out unisono theme, which the piano answers with a grupetto. The ghostly atmosphere of the piece is then further reinforced by a constant tremolo in the piano part, which dissolves the tonal substance of the music into ghostly notes.
The idiosyncrasies of pianist Elly Ney's (1882–1968) playing style are particularly evident in this recording from 1938. With her choice of an unrelentingly slow tempo, her deep focus on the emotion of the piece as she becomes lost in the music, and her persistent attachment to each individual sound, her static playing style defies all connection within the music and leaves no room whatsoever for arcs of tension. In the course of her successful international career as a pianist, Ney progressively dedicated herself more and more to the works of Beethoven, for whom she reserved boundless reverence. She was a committed Nazi, and was more than ready to use her performances of Beethoven for propaganda purposes.
(Constanze Köhn)
The idiosyncrasies of pianist Elly Ney's (1882–1968) playing style are particularly evident in this recording from 1938. With her choice of an unrelentingly slow tempo, her deep focus on the emotion of the piece as she becomes lost in the music, and her persistent attachment to each individual sound, her static playing style defies all connection within the music and leaves no room whatsoever for arcs of tension. In the course of her successful international career as a pianist, Ney progressively dedicated herself more and more to the works of Beethoven, for whom she reserved boundless reverence. She was a committed Nazi, and was more than ready to use her performances of Beethoven for propaganda purposes.
(Constanze Köhn)
