Opus 1
Three Trios in E flat major, G major, C minor for Piano, Violin and Cello.
Opus 1, 3 Trios in E flat major, G major, C minor for piano, violin and cello op. 1, dedicated to Prince Lichnowsky, 1793-1794, published in separated parts in Vienna, Artaria, July – August 1795. GA. nos. 79-81 (series 11/1-3)-B. 1 – KH. 1 – L. l,p. 9-N. 1 – P. 48 – T. 16
Beethoven’s catalogue opens with the three Trios op. 1, published in 1795.
Beethoven’s Trios for piano, violin and cello do not receive from critics, performers and the public the attention reserved for other large groups of works (e.g. the Sonatas and String Quartets), also because traditionally the Piano Trio was intended for amateur performers (it was essentially a Piano Sonata, with “accompaniment” of violin and cello). In any case, the Trios op. 1 are no less important than the contemporary Piano Sonatas op. 2, both for their intrinsic value and for the light they bring to the maturation of the young Beethoven and the affirmation of his overbearing artistic individuality.
Beethoven already from op. 1 attributes to the three instruments a completely equal role, bringing the musical discourse towards a dialogic balance that appeared futuristic to his contemporaries. In addition, the size of his compositions expands. He researches a personal style, in balance between respect for classical models, the use of traditional elements and the search for new formal, expressive and dialectical solutions.
The exact year of these compositions is not known but, in order to determine a date, we must first consider that their first private performance (of which Ries speaks), in the house of Prince Lichnowsky, and in the presence of Haydn, could not have taken place after January 19, 1794, the date on which the old Master left again for London from where he returned only in August 1795, when the work was already in print. So, it is assumed that the period of their gestation and writing is diluted in the previous three years, that is, the period in which the young Beethoven moved from the provincial Rhine town of Bonn where he was born, 1792, to the greater Vienna and met the aristocracy of this city. However, these are not his first works in a chronological sense, but they certainly constituted a nice business card for the young musician who officially presented himself to the public for the first time as a composer, supported, in this passage, by the enthusiasm of a circle of Viennese admirers who had sensed the potential of his genius. Crucial to the fortune of these works was the figure of Count Carl von Lichnowsky, protector and paternal friend of the composer, who together with other admirers guaranteed the publisher Artaria the purchase of 250 copies of the Trios, effectively ensuring the success of the publication. And it was to Count Lichnowsky that Beethoven dedicated the three Trios op. 1.
In those years, Beethoven, in his early twenties, made himself known and appreciated essentially for his skills as a great pianist and above all for his talent as an improviser. It was precisely this quality of his that aroused admiration, amazement, often bewilderment and, at the same time, a great expectation of what he could express as a composer in the salons of the city. Those were the years in which the seriousness of the void left by Mozart’s recent death (1791) was becoming aware, while the sixty-year-old Haydn collected the honors of many years of brilliant career, assuming the role of patriarch of great European instrumental music. In this regard, the message of farewell that Beethoven received from Count Ferdinand Waldstein at the time of his departure from Bonn is significant and far-sighted: “Dear Beethoven, you are finally leaving for Vienna and fulfilling your long-thwarted wishes. The genius of Mozart is still mourning and mourning the death of his creature; with the very fertile Haydn she found asylum but no new life. Now you would like to incarnate again in a higher spirit: may you, by virtue of unceasing work, receive the spirit of Mozart from the hands of Haydn.”
The 3 Trios were first performed in late 1793 or in the first weeks of 1794; therefore at the end of 1793, or at the latest within the first half of the following January, we must consider that their composition was already completed; however, it is not inadmissible to think that there were further alterations within the same 1794, or perhaps even at the beginning of 1795.
“Beethoven’s three Trios,” Ries writes, “were presented for the first time to the artistic world in an evening by Prince Lichnowsky. A select group of musicians and connoisseurs was invited, beginning with Haydn, whose judgment was eagerly awaited. The Trios made an extraordinary impression, and Haydn said many nice things (especially for the first two trios, not surprisingly those closest to his pen), but he advised Beethoven against publishing the third (the most intense and the most brilliant – in short, the most Beethovenian of the three). Beethoven was dumbfounded because he considered him the best: today they like him a lot and he has a great effect. Haydn’s advice made a bad impression on Beethoven, who thought that Haydn was envious, jealous and had no sympathy for him.
His words were not well received by Beethoven, who attributed them to envy, while both Ries and Schindler, who were devoted friends of Beethoven, but also knew Haydn’s rectitude, could not believe such a petty motivation: Schindler included this episode “in the long list of incomprehension that have unfortunately been very numerous in Beethoven‘s life”, while Ries asked Haydn for clarification, who explained that he feared that the public would not easily understand this Trio and would be slow to appreciate its proper value. Haydn knew the Viennese audience well and felt that the third Trio in C minor was rather daring for that time and did not think that it would not be adequately understood, especially in the two initial movements, the pressing and breathless Allegro and the Andante cantabile with variations, very elaborate in their musical discourse. Haydn’s fears might indeed have seemed justified; however, this Trio was an immediate success and was one of the first works by Beethoven to obtain some public favour even in Italy, relatively early, around 1840. The piece shows the great creativity of the young genius, who moved ahead with confidence, not afraid to go beyond a long-standing tradition that he didn’t follow too strictly. Probably, Beethoven did not completely ignore the master’s observations, just as it is likely that Haydn himself had understood the innovative power of that young man, even if he did not want to manifest it explicitly, perhaps tacitly drawing lessons from it for a career, his own, which had certainly not ended at the age of sixty.
These 3 Trios were known thanks to a group of close admirers of Beethoven who allowed the publication by guaranteeing the purchase of almost 250 copies to the publisher Artaria at the not inconsiderable price of a ducat each. Lichnowsky and over one hundred subscribers, almost all belonging to the Viennese nobility, financed the publication of the three Trios which were printed between July and August 1795 by the publisher Artaria, who advanced the composer two hundred and twelve florins, with the commitment to make a clear and well-finished engraving, preceded by an elegant frontispiece.
The original manuscript is lost. Sketches of the second and third Trio are mostly found in a notebook preserved in the British Museum and have been described by Nottebohm and Shedlock. They demonstrate the gradual formation of themes and episodes, some of which may have been originally intended for other compositions as, for example, in the Finale of the Third Trio, the first theme (referred to at the beginning as Andante Rondomässig) and a theme that does not adhere to the liveliness of the current movement.
The formal analysis shows that, despite their Beethovenian character, these three Op. 1 Trios by Beethoven still refer back to Haydn. Structured in four movements of great duration, they reveal a dependence on typically Haydnian compositional stylistic features (such as the slow introduction, the use of the “false reprise”, the festive and popular character of the concluding Presto) and this influence is due to the occasional lessons that the great Master had dispensed, without much effort, to the young rising star. The formal balance of the great previous tradition for Beethoven is a shell in which to contain his genius with difficulty.
Piano writing is new. It is no longer harpsichord but muscular, robust and therefore requires a broad sonority, in which Clementi’s influence is recognizable; What is new above all is a greater independence of the strings, no longer submissive to the piano. Also noteworthy is the independent writing of the cello, at times flowery and with a solo function, of the cello. In Haydn the cello was often limited to playing the basso continuo.
First Trio in E flat major
I) Allegro – II) Adagio cantabile -III) Scherzo: Allegro assai – IV) Finale – Presto
Listening carefully to the Trio op. 1 no. 1, one perceives how Beethoven manages to build a rich and lively dialogue with the eighteenth-century piano trio, giving new light to this form of chamber music. The movements have been developed with mastery. The elaboration of the speech that leads from one theme to another passing through a series of modulations can already be felt in the initial Allegro, lively and brilliant.
First Movement: the individuality of the Allegro is emphasized by the initial thematic formation. The First Theme of the Allegro is based on a refined play of contrasts: to the first four bars of staccato arpeggios (entrusted to the piano), alternating with repeated chords (entrusted to all three instruments), Beethoven answers with a legato and cantabile phrase. In the subsequent evolution of the theme, the same “dispute” between staccato and legato becomes closer, resolving itself in favour of cantabile. A short episode leads to the second thematic group, consisting of calm chords and a second idea. The Second Theme has a decisive and at the same time relaxing rhythmic character, very similar to the corresponding Trio for strings op. 9 no. 1 and the Quartet op. 18 no. 6. To close the exposition, a dominant pedal supporting the Coda with detached ascending scales and triplets. The Development opens with echoes of the first theme, from which an elaboration of the same first theme begins, followed by a reinterpretation of the Coda of the Exposition. The Recapitulation follows the traditional pattern: repetition of the first theme and the transitional episode, shorter and modified so that we arrive at the second thematic group in the key signature. At the end of the Exposition there is a Varied Recapitulation of the second theme’s first part and finally the concluding Coda.
Second Movement: The Adagio cantabile develops with a very expressive lyrical atmosphere, typical of Beethoven. The main theme is a quiet motif, played by the piano, which ends with fragmented chords. Then, the violin resumes the theme, and we move on to a second more expansive and affectionate episode, sung alternating cello and violin. After a varied chorus of the main theme, the atmosphere changes: a sad and passionate phrase is played by the three instruments in three different keys, starting from E flat minor and resolving to C major, which leads to a feeling of calm and serenity. Finally, the theme ends with a delicate fantasy, where reminiscences and new fragments mix and close the second movement.
Third Movement: The Scherzo is playful, characterful and elaborate, in the Beethoven’s style. It is based on a short three-note motif with acciaccatura. After the exposition, the motif is repeated several times, leading to a cadence from which the theme could start again. Beethoven extends it with rapid “sabres” of the violin. The central part of the Trio has long string notes, with piano arpeggios, and repetition the initial theme. After the reprise of the Scherzo, it ends with a short coda.
Fourth Movement: Lighter and more walked, the final Presto shows, similar in style to Haydn and Mozart, a composer already mature in terms of thematic and rhythmic invention. The movement is very lively and full of energy. It is one of Beethoven’s most emphatic movements, with two themes that face each other as in a drama. It opens with rapid violin notes, followed by a similar piano motif. Then, there is a second sweet theme, played by the piano and violin, which extends like a coda. The development re-proposes the second theme in different keys, and the reprise presents the main themes in a varied way. The final coda is long and full of echoes, leading to the conclusion of the movement.
Second Trio in G major
I) Adagio – Allegro vivace – II) Largo con espressione – III) Scherzo: Allegro – IV) Finale – Presto
Of the three Trios op. 1 is the one that most inspired by typically Haydnian style.
Primo Tempo: The incipit is slow and thoughtful, as Beethoven liked. Our Orchestra introduces the elements that will characterize the next Allegro vivace; the Adagio flows freely into the right hand of the piano and fragmentary melodic passages from the strings; the musical discourse continues leading to the climax and then flowing towards its conclusion.
The Allegro is characterized by a continuous dialogue between piano and violin in a solid thematic context. The participation of the cello is very measured.
The first theme comes on tiptoe, on the fourth scale degree, so much so that it seems like a further introduction to the actual theme. The violin proposes the theme, starting from the tonic chord, strong and with conviction. A modulating transition leads to the second theme, witty and gallant, composed of a main subject exposed by the violin and a secondary idea outlined instead by the piano. Fragments of the first theme characterize the final coda.
The Development section is also based on the first theme, which is played in imitation by the three instruments. It begins with a short idea taken from the start of the first theme, repeated in nearby minor keys. The next part presents a melody that sounds new but actually contains small fragments of themes heard earlier. Another short section leads to the Recapitulation, where the first theme, the transition, the second theme in the main key, and the coda return in order. However, between the first and second themes, a long connecting passage is added, which is very different from the original modulating bridge. Just when a strong cadence seems to end the piece, the music starts again with a final coda. This recalls the beginning of the Development and adds new motivic ideas at the end of the Allegro vivace.
Second Movement (Largo): The second movement, a Largo of great expressive depth, stands out for its serene and flowing melodic line, considered one of Beethoven’s finest early achievements, with hints of Romantic expression. Three main melodic ideas follow one another seamlessly: the first introduced by the piano and echoed by the violin; the second, more pleading in tone; and the third, calm and based on the main notes of the key. These themes are presented in the first part, connected by short transitions, while the second part reintroduces them with significant variations, including transposition a fourth higher for the second and third themes, in a structure reminiscent of a sonata-form recapitulation. The main theme, gentle and affectionate, begins in a lilting 6/8 on the piano and modulates to the dominant key when taken up by the violin. The second theme, developed through interplay between the instruments, also ends with a modulation. The third, shorter theme, appears in a distant key and is followed by a contrasting episode that recalls the opening of the first theme over sombre piano repetitions. This leads to the reprise, where the first theme is heard again in two versions—first by the piano with subtle changes and added strings, then by the cello, eventually dissolving into fragments. The second and third themes return, transposed and modified, followed by a final episode combining elements from earlier sections. There is no thematic development in the strict sense—rather, a free and lyrical unfolding of ideas, culminating in a coda rich in delicate piano textures. The movement ends with a free, fantasy-like conclusion in the main key, built on a fragment of the first theme that reappears as the music gently fades away.
Third Movement (Scherzo): The third movement is a charming Scherzo, more in the style of Haydn’s minuets than Beethoven’s later, more dramatic scherzos. The theme begins with a soft imitative gesture from the cello and continues smoothly in 3/4 time, eventually hinting at a new melodic idea. This idea shares rhythmic traits with the Trio, which differs little from the Scherzo aside from its minor key and a slightly more assertive tone. The harmonic movement alternates between minor and its relative major. The return of the Scherzo and a brief coda complete the movement.
Fourth Movement (Finale – Presto): The final Movement is a lively and sparkling Presto, full of joyful energy and lightness, reminiscent of Mozart yet grounded in Beethoven’s clear structural logic. (“Haydn squared”, according to the nicy definition of Giovanni Carli Ballola). It opens with rapid violin repetitions answered by the piano in the dominant, followed by the cello’s entry. A modulating bridge leads to the second theme group, where piano and violin interact to present a bright, spirited idea followed by a gentler one, closing the exposition. The development begins with a sudden piano passage and two returns of the second theme in different keys, linked by a transitional gesture echoing the initial rapid figures. A dominant pedal built from the first theme leads to the recapitulation, where the opening theme returns with varied piano accompaniment, followed by a shortened bridge and the second theme now in the main key. A broad and brilliant coda, with clear references to the opening theme, brings the entire work to an energetic and satisfying close.
Third Trio in C minor
I) Allegro con brio – II) Andante cantabile con variazioni – III) Menuetto: Allegretto – IV) Finale – Prestissimo
The Trio in C minor, op. 1 no. 3 is judged not only the best in the collection but also one of Beethoven’s best early works (according to Giovanni Carli Ballola it is comparable to the Piano Sonatas op. 10 no. 2 and op. 13 “Pathetic”, to which it would also be superior in terms of constructive balance and unity of inspiration); it is not surprising that it was the author’s favorite as it appears to be the most mature and personal of the collection. The choice of C minor, the intense and dramatic character that pervades almost the entire composition, along with the vigorous dynamic impulses that energize the phrases and the boldness of certain harmonic passages, are the main elements that clearly distinguish Trio No. 3 from the first two pieces of the same Op. 1.
In 1817 Beethoven made a transcription of it for String Quintet, (op. 104).
First Movement: The first movement is marked by constant expressive changes built on carefully planned contrasts. It begins with a first theme, like a short slow introduction: a sad opening phrase played in unison, closing with a brief violin cadence. From this, a rhythmic-melodic motif of three detached notes emerges, forming the second idea of the first theme. The atmosphere grows increasingly anxious and dramatic, with expressive pauses, never finding calm. The rhythm becomes more intense in the modulatory bridge that introduces the second theme. This second theme contrasts with the dramatic opening, offering a sweet melody in a major key, calm but suddenly interrupted by a strong cadence. From this cadence starts a long coda made of three short episodes where fragments of the first theme reappear, varied by dynamic changes. The development is entirely based on the first theme group. It begins by quoting the opening phrase, then elaborates a fragment with sudden mood and intensity shifts and later reworks the motif of the three detached notes. In the recapitulation, the first theme changes shape: the initial motif expands and dominates, while the second theme appears only briefly and in a varied, reduced form within the modulatory bridge. The second theme then returns in the main key, shifting from major to minor mode. After a short adagio pause, the coda—which is typically broad in Beethoven’s style—introduces new developments of the themes, further emphasizing the restless and troubled character of the movement.
Second Movement: The drama of the first movement gives way to a pure and steady calmness in the Andante cantabile with variations. There are five variations, which don’t show much structural innovation but remain some of Beethoven’s most charming early works. The theme is repeated almost obsessively, going through very gentle changes until an unexpected coda appears, full of intimate feeling and bathed in a peaceful, twilight-like glow. The contrast with the first movement is only apparent, as the variations avoid any decorative excess. This is the only movement in the main key’s major mode and features a simple theme made of two parts, following the pattern AB CB’. In the first two variations, the piano dominates in the first, while the strings take the lead in the second. In the third variation, the strings accompany the piano’s lively, “galloping” rhythm with noticeable pizzicato. The fourth variation is more lyrical, with the strings playing a gentle melody in the minor mode. The last variation stands out with the piano playing a continuous flow of chromatic scales in detached triplets, contrasting clearly with the smooth harmonic background created by the strings. The Movement ends with a stretched cadence followed by fragmented echoes of triplets that form the coda.
Third Movement: This is the only Trio in Op. 1 to have a Minuet instead of a Scherzo as the third movement. However, it is not the traditional courtly dance with a noble and graceful character typical of the 18th-century minuet. Instead, its sharp rhythm and sudden mood changes make it very similar to a Scherzo. The theme is in a minor key and is introduced in the first part by the piano with phrases, imitative fragments, and alternating chords that intentionally create rhythmic ambiguity. In the second part, the theme develops through fast ascending piano arpeggios, moving harmonically in the opposite direction from the first part—from a major key to its relative minor—before returning to the first part and fading away in a cadential coda. The middle section of the Trio is quite different, starting with quick descending piano scales that lead into calm and tender cello melodies, accompanied by smooth violin arpeggios.
The movement ends with a repeat of the Minuet from the beginning, without any repeats.
Forth Movement: In the Prestissimo, the drama of the initial Allegro con brio returns multiplied: it is the first of those great Beethovenian Movements in which the drama is very strong. Nigel Fortune wrote that this Trio “is Beethoven’s work that most marked its era for its broad tonal drama, intensified by the nature of the thematic material, the play of contrasts and the enthusiasm”.
Beethoven chose to use sonata form. The three instruments maintain a perpetual motion, driving an agitated, energetic, and intense first theme in C minor. The second theme contrasts with a lyrical, sorrowful, and pleading character. Throughout the movement, these two themes engage in a constant struggle filled with tension and drama, which only eases in the final bars when the coda leads the Trio to a serene and gentle pianissimo conclusion in C major.
A forceful unison attack by the three instruments dramatically introduces the first theme, a simple, legato melody that unfolds swiftly in a tension-filled pianissimo. This initial gesture recurs throughout, delineating the phrases of the first theme, while in the ensuing modulatory bridge the cello’s motif recedes beneath the sharp sforzando accents. The second theme presents a lyrical, sweet melody in the relative major, first stated by the piano and then by the violin, its closing cadence extended into the exposition’s coda. Following a brief return of the opening unison figure, the development section focuses exclusively on the second theme, which is presented in two distant keys linked by a sustained pedal tone. The theme subsequently reduces to its opening two measures and, through a series of transpositions and rapid piano scales, culminates in a dominant pedal. In the recapitulation, the first theme returns without its opening unison gesture, while the second theme is restated in the tonic key, initially in major mode and gradually shifting to minor near the conclusion.
“(…) Although it was long believed that the Op. 1 Trios were written and completed in 1793 and performed for Haydn before his departure for London in January 1794, it now seems clear, thanks to the research of Douglas Johnson, that No. 1 was written in Bonn and revised in 1793, while Nos. 2 and 3 were sketched and later composed after Haydn’s departure. (…)”.[1]
The first sketches of Trio No. 1 probably date back to 1790 and in 1792 Beethoven had practically completed it, but he saw it again in Vienna in 1793, where he completed it by the end of that year; it is not excluded, however, that before its publication, which took place between July and August 1795, Beethoven further revised it. It is divided into four movements: “Allegro“, “Adagio cantabile“, “Scherzo – Allegro assai“, “Finale – Presto“.
In general about this Trio André Boucourechliev said that: «(…) The stylistic figures, the elements of syntax, the writing technique are still those transmitted by Haydn e Mozart. But it is amazing how suddenly they appear modified in their “implementation”. (…)».[2] For Stefano Catucci: «(…) It is the most respectful of the Haydnian model both in terms of formal models and in terms of the conduct of the individual instruments, brought to dialogue with each other in a style of conversation that on the one hand is very fluent, and on the other is still guaranteed by the unifying presence of the piano.».[3]
According to critics, it is in the first movement, “Allegro,” that “(…) the influence of the Viennese masters is most strongly felt; Beethoven’s distinctive touch, on the other hand, can be recognized in some free harmonic associations and in that ‘line of motion’ typical of his later quartet writing. (…)” [4] and in fact, Stefano Catucci, states that: “(…) Only at the level of harmonic concatenations, treated with great freedom, can the incipient sign of Beethoven’s personality be recognized. (…)».[5] Luigi Della Croce writes: «Everything is broader and more expansive in this sonata-form movement compared to previous chamber works, although one cannot yet speak of a break from Haydn’s models (…) nor does the composer abandon that type of appoggiatura which is somewhat Mozart’s signature touch. (…)».[6]
Giovanni Carli Ballola, on the other hand, observes more acutely: «(…) The influence of Clementi (…) is particularly evident in the neoclassical drapery of the Adagio cantabile theme, whose musical discourse rises to a lyrical intensity and to an expressive and harmonic depth that are unmistakably Beethovenian. (…)».[7] For Luigi Della Croce , this movement represents ‘(…) the first profound manifestation in Adagio time of the Beethovenian soul, which seems to surrender itself to the spontaneous flow of thought. (…)»,[8] and Stefano Catucci , too, identifies here ‘(…) a more evident presence, in the broad and clear melodic structure, (…) of the nascent imprint of Beethoven’s musical personality. (…)».[9]
The third movement is a Scherzo – Allegro assai, which, according to Luigi Della Croce, ‘With its playful character, this is Beethoven’s first “real” Scherzo, clearly showing how the formal Minuet has evolved: no longer a graceful and elegant dance, but a true burst of good humour. (…)’ [10]
Stefano Catucci, however, disagrees. He believes that ‘(…) At this point in Beethoven’s development, this kind of movement still lacks both the rhythmic energy and the humorous tone that will define it later. Compared to the classical Minuet, Beethoven simply expands the formal structure, adding more developed musical ideas, and as a result, creates a longer and more substantial piece. (…)[11]
The two musicologists also differ somewhat in their views on the final movement, Finale – Presto. For Luigi Della Croce, it represents ‘A return to liveliness and to a more conventional framework (…) in line with the models of the masters, though not in conflict with the brilliant frenzy of the preceding Scherzo. (…)’ ,[12]
Stefano Catucci ’s assessment is more critical: ‘(…) It is more modest: the theme is very clearly defined, but the development is less refined.[13]
[1] Maynard Solomon. Beethoven. La vita, l’opera, il romanzo famigliare. Supertascabili Marsiglio
[2] André Boucourechliev: Beethoven. Parigi 1963. Da Amedeo Poggi e Edgar Vallora: Beethoven. Signori il catalogo è questo! Einaudi editore
[3] Stefano Catucci: Beethoven opera Omnia. Le opere. Fabbri Classica
[4] Amedeo Poggi e Edgar Vallora: Beethoven. Signori, il catalogo è questo! Einaudi editore
[5] Stefano Catucci: Beethoven opera Omnia. Le opere. Fabbri Classica
[6] Luigi Della Croce: Ludwig van Beethoven. La musica pianistica e da camera. L’Epos editore
[7] Giovanni Carli Ballola: Beethoven. Biografie Bompiani
[8] Luigi Della Croce: Ludwig van Beethoven. La musica pianistica e da camera. L’Epos editore
[9] Stefano Catucci: Beethoven opera Omnia. Le opere. Fabbri Classica
[10] Luigi Della Croce: Ludwig van Beethoven. La musica pianistica e da camera. L’Epos editore
[11] Stefano Catucci: Beethoven opera Omnia. Le opere. Fabbri Classica
[12] Luigi Della Croce: Ludwig van Beethoven. La musica pianistica e da camera. L’Epos editore
[13] Stefano Catucci: Beethoven opera Omnia. Le opere. Fabbri Classica
Opus 1
Tre trii in mi bemolle maggiore, sol maggiore, do minore per pianoforte, violino e violoncello – Versione per orchestra di Michael Wermke.
