Ludwig van Beethoven's Piano Trio in C minor Op. 1/3, published in 1795, was the work that first announced his arrival on the scene and caught the public's fancy; its violent dynamic contrasts and long-limbed melodic gestures were something fresh and new. In this Piano Trio, the strictures of classical form were observed, but Beethoven's mighty themes and dramatic gestures seemed set to burst it at the seams, and even more of Beethoven's revolutionary ideas were in store for a Europe then preoccupied with the very idea of ...
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Ludwig van Beethoven's Piano Trio in C minor Op. 1/3, published in 1795, was the work that first announced his arrival on the scene and caught the public's fancy; its violent dynamic contrasts and long-limbed melodic gestures were something fresh and new. In this Piano Trio, the strictures of classical form were observed, but Beethoven's mighty themes and dramatic gestures seemed set to burst it at the seams, and even more of Beethoven's revolutionary ideas were in store for a Europe then preoccupied with the very idea of revolution, both in its challenges and its consequences. Of course, the revolution represented by Beethoven's C minor Piano Trio has long since past and it has become a standard repertory item, recorded many times, and well -- by the Beaux Arts, Stern-Rose-Istomin, Kalichstein-Laredo-Robinson, and so forth on down the line. So what's a young group like the Xyrion Trio to do in order to get attention in such a crowded field? To play Beethoven's music as though it were "new" again; this...
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