The Beethoven Weekend began on Friday evening with Beethoven’s very first opus number, Piano Trio Opus 1, No. 1, as a prelude to three (stylistic) periods in his Magnum Opus: “Heroic”, “Sturm und Drang” and “Sacred and Profane”.

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“… The Linos Piano trio certainly shows the contrasts in the Allegro: striking chords, driving rhythms, as well as large dynamic differences from piano to fortissimo, even rinforzandi: intense excesses on a single note or short phrasing. In the Adagio cantabile, the violin and cello respond to each other like wisps of wind, upon which the piano bursts forth passionately. Here, Linos plays with a slight flourish towards Romanticism…”

Linos Trio arranged the Finale of Sinfonia Eroica themselves, in which Beethoven attacks Napoleon, whom he initially revered, for his later delusions of grandeur, translating this into dictatorial violence. Here, osmosis takes place between three passionate talents. Cannon shots boom at you, combative cackling roosters unexpectedly pave the way for a spiritedly played fugue. From the silence of a macabre battlefield, a tender piano melody blossoms, embraced by strings like soulmates…

In Piano Trio in E flat, Opus 70 No. 2, there is little trace of that heroism. The lovely rising opening melody of cello, violin and piano floats towards the light. The first movement is full of sparkling piano parts, delightful conversations between cello and violin. In the fruity Allegretto with its stimulating upbeats in the piano part, the strings battle each other with gusto. The dance-like Menuetto is constantly pushed off course by the violin and cello; it cannot deter the pianist from his sparkling keyboard playing.

“All restraints are cast aside in the Finale. An inspired pianist and attacking strings send the Aalmarktzaal into ecstasy.”