Ludwig van Beethoven (1770-1827)
Nationality:
German
Baptized: December 17, 1770, Bonn Died: March 26, 1827, Vienna (age 56)
Serenade for String Trio in D major, Op. 8
(for violin, viola and cello)
| 7:35 | I. | Marcia. Allegro - Adagio | |
| 2:25 | II. | Menuetto. Allegretto | |
| 5:01 | III. | Adagio - Scherzo. Allegro molto - Adagio - Allegro molto - Adagio | |
| 3:30 | IV. | Allegretto alla Polacca | |
| 9:40 | V. | Thema con Variazioni: Andante quasi allegretto - Variationen I-IV - Marcia. Allegro |
Duration: 28 minutes (approximately)
Composed:
1795-1797 (age 24-27)
Published:
1797, Vienna: Artaria (age 26-27)
3 recordings,
19 videos
autoopen
autoplay
7:25
Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich
I.
Marcia. Allegro - Adagio
2:23
Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich
II.
Menuetto. Allegretto
4:55
Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich
III.
Adagio - Scherzo. Allegro molto - Adagio - Allegro molto - Adagio
3:18
Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich
IV.
Allegretto alla Polacca
9:18
Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich
V.
Thema con Variazioni: Andante quasi allegretto - Variationen I-IV - Marcia. Allegro
2:31
Jerusalem String Trio
I.
Marcia. Allegro - Adagio
(part 1 of 2)
6:00
Jerusalem String Trio
I.
Marcia. Allegro - Adagio
(part 2 of 2)
2:25
Jerusalem String Trio
II.
Menuetto. Allegretto
4:45
Jerusalem String Trio
III.
Adagio - Scherzo. Allegro molto - Adagio - Allegro molto - Adagio
3:48
Jerusalem String Trio
IV.
Allegretto alla Polacca
8:39
Jerusalem String Trio
V.
Thema con Variazioni: Andante quasi allegretto - Variationen I-IV - Marcia. Allegro
(part 1 of 2)
1:21
Jerusalem String Trio
V.
Thema con Variazioni: Andante quasi allegretto - Variationen I-IV - Marcia. Allegro
(part 2 of 2)
2:34
Clive Conway, Paul Silverthorne, Gerald Garcia
I.
Marcia. Allegro - Adagio
(part 1 of 2)
5:46
Clive Conway, Paul Silverthorne, Gerald Garcia
I.
Marcia. Allegro - Adagio
(part 2 of 2)
2:13
Clive Conway, Paul Silverthorne, Gerald Garcia
II.
Menuetto. Allegretto
5:31
Clive Conway, Paul Silverthorne, Gerald Garcia
III.
Adagio - Scherzo. Allegro molto - Adagio - Allegro molto - Adagio
3:14
Clive Conway, Paul Silverthorne, Gerald Garcia
IV.
Allegretto alla Polacca
7:58
Clive Conway, Paul Silverthorne, Gerald Garcia
V.
Thema con Variazioni: Andante quasi allegretto - Variationen I-IV - Marcia. Allegro
(part 1 of 2)
1:24
Clive Conway, Paul Silverthorne, Gerald Garcia
V.
Thema con Variazioni: Andante quasi allegretto - Variationen I-IV - Marcia. Allegro
(part 2 of 2)
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glossary
- adagio [It]—slow tempo, often implying a lyrical, poignant character
- alla [I], all', à la [F]—to the, in the manner of
- allegretto—moderately quick tempo. slower than allegro but faster than andante
- allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
- andante [I]—moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto
- chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
- con [I,S]—with
- marcia [I], alla marcia, marche [F], Marsch [G], march [E], marciale, marziale—march, in the manner of a march, e.g. duple meter at a moderate but deliberate pace in a manner which may be proud, grand, like a parade or a show of military bravado.
- minuet, menuet [F], Menuett [G], menuetto [I], minuetto [I]—A graceful, courtly French dance of the Baroque and Classical period with a triple meter and a moderate tempo.It was introduced at the court of Louis XIV. In classical forms such as the symphony or chamber music, the minuet evolved into the more vigorous scherzo.
- molto [It]—very much
- opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
- Polonaise [F], Polonese [I], Polacca [I], Polaca, alla polacca, Polones—a dance of Polish origin in a moderate triple meter (3/4) typically with a characteristic rhythm (subdivisions of the beat with a flourish in the 2nd half of the 1st beat) and an energetic momentum.
- quasi—almost, almost like, as if
- scherzo—lively, brisk, typically in a triple meter; usually a three-part form with central, contrasting trio
- serenade, serenada, serenata [I], sérénade [F]—A suite of movements like a divertimento with similar connotations of lightheartedness, pleasure and relative calm with an emphasis on lyricism and often beginning with a march. Historically evokes the evening, outdoors, an honorific or amorous tribute, especially from a suitor to a lover in a window or balcony. The word serenade has its Latin origins the Latin word for "calm" or serene. wiki
- string trio, Streichtrio [G], Trio d'archi [I], Trio à cordes [F], Trío de cuerdas [S] —a work for three stringed instruments, most commonly violin, viola and cello. A more rarefied form than the string quartet perhaps because the texture is sparse (each instrument highly exposed) and the means more difficult for natural harmonic richness. But these become challenges and assets in the great trios. Trios almost always emphasize countrapuntal writing with each of the three players in strong relief.
- tema con variazioni, con variazioni, Tema e variazioni, theme and variations, Thema mit Variationen [G], Thème varié [F]—a common movement form featuring an initial theme followed by a series of variations on that theme, each of which adjusts any number of parameters to achieve variety, e.g. tempo, rhythm, key, instrumentation, etc.A challenge to the composers ingenuity and a delight for the listener
- theme, tema [I], Thema [G]—a complete and recognizable musical entity (e.g. melody) used as the basis for elaboration (e.g. variations, sontata, fugue, etc.). Also called a subject. Motif (motive) is generally a smaller fragmentary entity.
- variation, variazione, variatio, variato, variata—a modified re-iteration of a previous theme, reprise, couplet, etc. The music is varied, embellished or creatively transformed for variety while maintaining a unity relationship with the original. See "Theme and Variations."