Innovative Sonorities: Atypical Pitch Orders in Beethoven's Piano Trios

Authors

Yoko Maruyama, Tokyo University of the ArtsFollow

Abstract

In his chamber music with keyboard, Beethoven famously emancipated the cello from its bass function to make it equal with the other instruments, as has been repeatedly noted. Some studies have also highlighted, partly in relation to this emancipation, the sonorous balance between strings and piano in Beethoven’s chamber works. The pitch relationship between the cello and violin in his piano trios has been less discussed, yet attending to both parts reveals a tendency to use an atypical order in which the cello’s pitch is set above the violin or between the violin’s chord tones. This tendency increases from Beethoven’s early to middle periods.

The atypical pitch orders of the two strings in the early period could be a nascent gesture resulting from voice exchange or supporting the melodic line of the piano. Yet in the middle period the atypical pitch orders continue over longer passages, coloring entire sections with their unique sonority. They also function as an inextricable thematic component, recurring many times over the course of a movement. The atypical ordering of the two strings’ pitches suggests Beethoven’s increased interest in its sonorous quality and its potential structural or thematic function. It also highlights the importance of analytical studies of chamber music that focus on the particular sonority of the performing forces involved.

Recommended Citation

Maruyama, Yoko (2025) "Innovative Sonorities: Atypical Pitch Orders in Beethoven's Piano Trios," The Beethoven Journal: Vol. 37, Article 3.
DOI: https://doi.org/10.55917/2771-3938.1011
Available at: https://scholarworks.sjsu.edu/beethovenjournal/vol37/iss1/3