Ghosts of Beethoven: Spectres of Shakespearean Yore
Beethoven’s “Ghost” Trio for piano and strings, Op. 70 No. 2, realizes so many hallmarks of what makes this composer so cherished, even in modern times. The utter contrasts apparent from the first seconds of the work; juxtapositions of rambunctious joy and sublime soaring melody abound in the outer movements. However, the “Ghost” and true essence of the piece lies in its center movement, betraying and fully expressing the full gamut of inner conflict lying in the center of the man who composed it, and quite possibly contained deep within all who appreciate it.
Beethoven’s “Ghost” Trio for piano and strings, Op. 70 No. 2, realizes so many hallmarks of what makes this composer so cherished, even in modern times. The utter contrasts apparent from the first seconds of the work; juxtapositions of rambunctious joy and sublime soaring melody abound in the outer movements. However, the “Ghost” and true essence of the piece lies in its center movement, betraying and fully expressing the full gamut of inner conflict lying in the center of the man who composed it, and quite possibly contained deep within all who appreciate it.
Beethoven’s “Ghost” Trio for piano and strings, Op. 70 No. 2, realizes so many hallmarks of what makes this composer so cherished, even in modern times. The utter contrasts apparent from the first seconds of the work; juxtapositions of rambunctious joy and sublime soaring melody abound in the outer movements. However, the “Ghost” and true essence of the piece lies in its center movement, betraying and fully expressing the full gamut of inner conflict lying in the center of the man who composed it, and quite possibly contained deep within all who appreciate it.