Opus 97 Trio in B flat major for piano, violin and cello
I) Allegro – II) Andante – III) Allegro moderato
Opus 97 – Trio in B-flat major for piano, violin, and cello, Op. 97, dedicated to Archduke Rudolf of Austria, 1810 – 26 March 1811, published in Vienna by Steiner, September 1816. GA. no. 84 (series 11/6) – B. 97 – KH. 97 – L. III, p. 282 – N. 97 – T. 164.
The original manuscript, dated “26 March 1811,” is preserved at the Deutsche Staatsbibliothek in Berlin. The sketches can be found in the notebook from January to September 1810, as described by Nottebohm.
The first theme of the Allegro moderato is of a calm and certain sweetness; the second reveals that “abundantia cordis” typical of many pages from Beethoven’s maturity, even in their formal restraint: for example, the first movements of the Piano Concertos Op. 58 and 73, or the String Quartets Op. 59 Nos. 1 and 2, and the Adagio of the Fourth Symphony. From the elements of the first theme, either developed linearly or contrasted, the development begins, which resolves into the ascending line of the pizzicati (a similar moment to the corresponding episode in the first movement of the String Quartet in E-flat major, Op. 74), supported by the pianistic motion, to lead, after a refined delay, into the recapitulation.
The second movement is the Scherzo (Allegro), where the theme enters into playful interaction with the instrumental figures and interweavings between the parts that highlight its rhythmic, joyful lightness. It resembles what Weber would later give, with fairy-tale fantasy, to the magic horn and the ensuing dance of the Saracen slaves in Oberon (perhaps this analogy inspired Schering’s interpretation). In the Trio, a dark motif slithers and unwinds gradually, eventually blossoming into a clear, marked, traditional dancing rhythmic figure; here, too, we think of Weber, who would take a similar rhythm as the starting point for the Aufforderung, although in that case it leads to a true waltz, while here we are in an instrumental field full of unexpected rhythmic twists, still contrasted by the shadowy initial movement.
The theme of the Andante is reminiscent in some ways of the second theme from the Adagio of the Ninth Symphony. A series of variations “dematerialises” it, to borrow a vision from Vermeil, breaking down the original melodic compactness into floating figurations that nevertheless respect its essence. In the first variation, the cello and violin accompany the piano’s arpeggios with the symmetrical phrases of an elementary melody, with a distant hint of a chorale. In the second, fantasy figures expand and spread across all three instruments, harmoniously revolving around the now materially present thematic core, perceptible again in their own form of movement.
The third is more animated but perhaps also more uniform in the constancy of its rhythmic type across the instruments, while in the fourth, as the piano’s arpeggios intensify, the theme, made more flexible and with a syncopated figure, comes to life, above the other parts, with a warmer vibrancy. It then reappears in its original form, albeit darkened by the minor mode; the Presto, pausing, gives way to an unexpected amplification: first with new modulations, then in the delay of the final fragment, an episode of expectation effectively coloured by the fluctuating cadential alternatives in the piano, ultimately expanding into broader and more emotional forms as the final phrase is recapitulated.
After this, the Andante fades away in the descent of the chords, shifting in sound and harmony, until the attack of the final movement. This (Allegro moderato) begins with a somewhat mysterious character but then unfolds in the style, as well as the form, of a brilliant rondo. The episodes are also finely crafted, one of which evokes the fifth variation of the Fantasia Op. 77 and the finale of the Fifth Piano Concerto. It is followed by and concludes with a kind of Stretta (Presto), fairly developed, which takes its formative elements from the main theme.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 97 Trio (B-dur) für Klavier, Violine und Violoncello Widmung: Erzherzog Rudolph von Österreich NGAIV/2 AGA 84 = Serie 11 /6 Beiname: Erzherzogtrio
Composition and Publication: The sketches for the trio date back to the second half of 1810 and the first months of the following year. The autograph score was written in March 1811 in Vienna. The original Viennese edition was published by Steiner & Comp. in September 1816, while the original London edition was released in December by Birchall. Beethoven wrote to Archduke Rudolf after 12 March 1811: “Während Den Festlichkeiten der Prinzessin Von Baden [she was in Vienna from 3–12 March 1811] wegen und dem Wehen Finger von ihro Kaiserl. Hoheit fieng ich an etwas Fleißig zu arbeiten, wovon unter ändern auch ein neues Trio die Frucht ist für’s Piano” (BGA 489). Shortly after, probably at the beginning of April, he presented the manuscript of the work to the Archduke: “Da ich troz aller angewandten Mühe keinen Kopisten, der mir im Hause schrieb, erhalten konnte, schicke ich ihnen mein Manuscript, sie brauchen nur gnädigst zum Schlemmer um einen Tauglichen Kopisten zu schicken, der das Trio jedoch nur in ihrem Palaste kopiren müßte, weil man sonst nie sicher vorm Stehlen ist” (BGA 491). This copy, in separate parts, was made by Wenzel Schlemmer for the Archduke and was corrected by Beethoven.
In the spring of 1815, the Archduke requested another copy (BGA 801). It is possible that Franz Brunsvik received a copy of the work in Ofen (BGA 665). In March 1815, Countess Erdödy received manuscript material which she kept for several weeks. Beethoven wrote: “Was das Trio anbelangt, so machen sie mir nur zuwissen, ob Sie selbes wollen bey sich abschreiben lassen, oder ob ich’s über mich nehmen soll? Beydes ist mir einerley, nur was ihnen am gemäßesten ist, wird mir das liebste seyn” (BGA 787, March). In the same month, another letter reads: “Ich sehe daß die Violin und Violonschellstimmen dorten schon geschrieben, schicke selbe ihnen mit, welche sie so lange gebrauchen können, als ich’s nicht zum Stich gebe” (BGA 797, March). Shortly after completing the composition on 12 April 1811, Beethoven had the trio offered for printing by Franz Oliva at Breitkopf & Härtel (BGA 492)—the publisher was not willing to accept Beethoven’s compensation requests (BGA 950).
The contract was concluded with Steiner in Vienna in April 1815, and in addition to Op. 97, it included twelve other works. The offers to English publishers ultimately succeeded only with Birchall. Viennese Edition: On 29 July 1816, a preview announcement appeared in the Wiener Zeitung by the Steiner publishing house: “In Kürze erscheint in unserm Musik-Verlage von Ludwig van Beethoven ein ganz neues Trio (in B dur) für Pianoforte, Violin und Violoncello, und 6 neue Lieder mit Begleitung des Pianoforte [Op. 98].” Consequently, the possibly later comment by Haslinger on the autograph score, “Im Druck erschienen am 16. Juli 1816,” cannot be correct. London Edition: The delivery of the engraving model to Birchall in London was announced on 3 February 1816 “mit der nächsten Post” (BGA 879; see Op. 96). Apparently, Beethoven also expected this edition to be released sooner, as he wrote to Ferdinand Ries on 11 June 1816: “wegen dem Trio hat mich der hiesige Verleger [Steiner] angegangen, daß dieses in London am lezten august erscheine, ich bitte Sie also deswegen […] mit Herrn B[irchall] zu reden” (BGA 940).
Dedication: For Archduke Rudolf, see Op. 58. — Beethoven had asked Charles Neate on 18 May 1816 for the English editions of Op. 96 and 97, and the piano reduction of Op. 92, for dedication recipients to be found “from whom there might be expected a present” (BGA 937; see Op. 96). Neate did indeed find a lady willing to commit to a dedication of Op. 97 for ten guineas. The information apparently reached Beethoven too late or not at all, because on 1 October 1816 (BGA 982), he instructed Birchall to dedicate Op. 97 to Archduke Rudolf.
First Performance: 2 June 1811, with Archduke Rudolf at the piano in a garden concert at the summer residence of Prince Lobkowitz. Johann Nepomuk Chotek recorded in his diary: “Das Conzert […] war etwas langweilig besonders das Trio von Beethoven, das kein Ende nahm.”
The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org
