• BIS1857 Katalognummer
  • 7318599918570 EAN
  • 1SACD Format
  • 2011 Utgivelsesår

Trio Zimmermann

Zimmermann, Frank Peter (violin) | Tamestit, Antoine (viola) | Poltéra, Christian (cello)

Beethoven, Ludwig van

Trio Zimmermann




Beethoven, Ludwig van:

String Trio Op.9 No.1 in G major:
I. Adagio - Allegro con brio
II. Adagio, ma non tanto, e cantabile
III. Scherzo. Allegro
IV. Presto

String Trio Op.9 No.2 in D major:
I. Allegretto
II. Andante quasi Allegretto
III. Menuetto. Allegro
IV. Rondo. Allegro

String Trio Op.9 No.3 in C minor:
I. Allegro con spirito
II. Adagio con espressione
III. Scherzo. Allegro molto e vivace
IV. Finale. Presto


Winner of the 2013 BBC Music Magazine Award in the chamber music category; Diapason d'Or January 2012; Klassik Heute 10/10/10 January 2012; NDR.de - kultur: "Eine Referenz-Einspielung: Wer das Trio Zimmermann einmal live im Konzert erlebt hat, weiß, was notwendig ist, um solche Ergebnisse zu erzielen: Arbeit, sehr viel gemeinsame Arbeit..."; Opus Haute Définition, outstanding October 2012: "It is a beaming Beethoven we perceive in this first-class interpretation, a Beethoven who is human and open wherein the music imposes itself for our listening pleasure. Magisterial!"

For their second release on BIS the Trio Zimmermann has chosen to record Beethoven’s String Trios Op.9 – a set of three that the composer himself upon their completion described as ‘la meilleure de mes oeuvres’ – the finest of his works. He composed them in 1796-98, after two earlier contributions to the genre which both clearly followed in the footsteps of Mozart’s great Divertimento K563. With their concentrated sonority, intense drama and striking formal disposition, the Op.9 trios mark the highlight as well as the end of Beethoven’s production for string trio, before he went on to compose quartets instead. But they cannot be regarded as merely a preparation for taking on that prestigious genre; to quote the composer’s biographers in Thayer’s Life of Beethoven, ‘none of the earlier works can compare with these trios in terms of beauty and novelty of invention, tasteful execution, treatment of the instruments and so on; overall, they even surpass the quartets that appeared shortly afterwards.’


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