Opus 64 – Sonata in E-flat major for Piano and Cello
(Transcription, made by others, of the Trio for Violin, Viola, and Cello Op. 3)
I) Allegro con brio II) Andante- III) Menuetto – Allegretto – IV) Adagio – V) Finale – Allegro
Opus 64 – Sonata in E-flat major for Piano and Cello Op. 64 (B. 64 – KH. 64 – L. III, 69 – N. 3, p. 5 – T. 18). Transcription, made by others, of the Trio for Violin, Viola, and Cello Op. 3. Published in Vienna by Artaria, May 1807. The name Kleinheinz appears. However, if Beethoven had it published in his catalogue of Opus numbers, the transcription must certainly have been reviewed by the author.
Official Title: “Opus 64” Sonata (E-flat major) after the Trio Op. 3 for Piano and Cello Foreign Arrangement – Hess Appendix 15
For all general considerations, refer to the description of the previous work.
First Edition: 1807 (May). Vienna, Artaria et Comp., VN/PN 1886. Title: “GRANDE SONATE / for / the Fortepiano / with obbligato Violoncello accompaniment / (drawn from the Grand Trio for Violin, Opus 3) / by / LOUIS van BEETHOVEN / No. 64. / [1.:] 1886. [r.:] / in Vienna at Artaria et Comp.”
Two parts in horizontal format. Piano: 27 pages (Page 1 is the title page) Cello: pages 2–11
Comparative Table: Opus 3 vs. Opus 64
Sources: Opus 3 (String Trio in E-flat major) and Opus 64 (Sonata in E-flat major for Piano and Cello)
| Category | Opus 3 – String Trio | Opus 64 – Sonata for Piano and Cello |
|---|---|---|
| Instrumentation | Violin, Viola, Violoncello | Fortepiano, Violoncello |
| Date of Composition / Publication | Composed ca. 1794–95; published 1797 (Artaria) | Published May 1807 (Artaria) |
| Catalogue References | Op. 3 – Biamonti 64, KH 64, L. III, 69 | Op. 64 – B. 64, KH. 64, L. III, 69, N. 3, p. 5, T. 18 |
| Transcriber | Original work by Beethoven | Transcription attributed to Kleinheinz or Ries; likely reviewed by Beethoven |
| Movement Count | Six movements | Five movements (one Menuetto omitted) |
| Formal Structure | I. Allegro con brio II. Adagio III. Menuetto I IV. Menuetto II V. Adagio VI. Finale – Allegro | I. Allegro con brio II. Andante III. Menuetto – Allegretto IV. Adagio V. Finale – Allegro |
| Texture and Voice Distribution | Three-part contrapuntal writing; balanced voice interplay | Two-part texture; piano assumes melodic and harmonic roles of violin and viola |
| Editorial Title (First Edition) | “Grand Trio pour Violon, Alto et Violoncelle” | “Grande Sonate pour le Fortepiano avec accompagnement de Violoncelle obligé (tirée du Grand Trio pour Violon, Opus 3)” |
| Stylistic Character | Classical elegance; chamber intimacy | Virtuosic piano writing; concertante character |
| Purpose / Reception Context | Domestic chamber music; aristocratic salons | Public performance; broader accessibility |
| Notable Alterations | Original thematic material for strings | Reallocation of melodic lines to piano; harmonic enrichment; omission of one Menuetto |
