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Beethoven: Serenade for Flute, Violin & Viola, String Trio No. 1 - Ardinghello Ensemble

Beethoven: Serenade for Flute, Violin & Viola, String Trio No. 1 - Ardinghello Ensemble

MDG Scene  903 1953-6

Stereo/Multichannel Hybrid

Classical - Chamber


Beethoven: Serenade for Flute, Violin & Viola, Op. 25; String Trio, Op. 3

Ardinghello Ensemble


Gentle Giant
Only a little chamber music for flute by Beethoven has come down to us. The Viennese classical Titan was not particularly fond of this tender instrument. If only life had given him the chance to hear the Ardinghello Ensemble with the phenomenal Karl Kaiser! Then he certainly would have changed his mind. Nevertheless, he managed to pen an elegant, nimble Serenade Op. 25, which the Ardinghello Ensemble is now releasing along with a new rendering of the magnificent String Trio Op. 3.

Rousing Best
Beethoven captures the serenade tone right in the very first measures of the flute trio. An “Entrata” of march character for the entry of the musicians opens this work very much in keeping with tradition, even though by Beethoven’s time the serenade had made its way from the court garden to the middle-class salon. Four other movements, including a minuet in the old style and a highly imaginative variation movement in the middle position, follow before a rousing finale sends into the night concertgoers who have witnessed musical entertainment at its very best.

Trio Titan
The formal structure of the six movements of the Trio Op. 3 also recalls the popular serenade. Behind this, however, Beethoven reveals himself as we know him: accent shifts directly call into question metrical certainty, the individual parts develop with emphatic equality, and the length of the work by itself justifies the title “Grand Trio.” Beethoven must have been very fond of this composition: he began an arrangement of it for piano quartet but then had to leave it unfinished.

Romantic Quest
For the Ardinghello Ensemble Beethoven stands at the beginning of an epoch of special interest. The four instrumentalists performing with Karl Kaiser – all of them women – very undogmatically operate with insights provided by historical performance practice and set out in quest of the “Faraway Sound” of romanticism - while discovering unheard-of and never-expected material. Surprises are guaranteed!

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