The Three Trios, Op. 1
But the instant and striking success of Beethoven as virtuoso by no means filled up the measure of his ambition. He aspired to the higher position of composer, and to obtain this more was needed than the performance of variations, however excellent. To this end he selected the three Trios afterwards published as Op. 1, and brought them to performance at the house of Prince Lichnowsky. Happily for us, Beethoven related some particulars concerning this first performance of these compositions in Vienna to his pupil Ries, who gives the substance of the story thus:
It was planned to introduce the first three Trios of Beethoven, which were about to be published as Op. 1, to the artistic world at a soirée at prince Lichnowsky’s. Most of the artists and music-lovers were invited, especially Haydn, for whose opinion all were eager. The Trios were played and at once commanded extraordinary attention. Haydn also said many pretty things about them, but advised Beethoven not to publish the third, in C minor. This astonished Beethoven, inasmuch as he considered the third the best of the Trios, as it is still the one which gives the greatest pleasure and makes the greatest effect. Consequently, Haydn’s remark left a bad impression on Beethoven and led him to think that Haydn was envious, jealous and ill-disposed toward him. I confess that when Beethoven told me of this I gave it little credence. I therefore took occasion to ask Haydn himself about it. His answer, however, confirmed Beethoven’s statement; he said he had not believed that this Trio would so quickly and easily be understood and so favorably received by the public.
The Fischoff manuscript says:
The three Trios for pianoforte, violin and violoncello, Op. 1 (the pearls of all sonatas), which are in fact his sixth work, justly excited admiration, though they were performed in only a few circles. Wherever this was done, however, connoisseurs and music-lovers bestowed upon them undivided applause, which grew with the succeeding works as the hearers not only accustomed themselves to the striking and original qualities of the master but grasped his spirit and strove for the high privilege of understanding him.
More than two years passed by, however, before the composer thought fit to send these Trios to the press; perhaps restrained by a feeling of modesty, since he was still a student, perhaps by a doubt as to the success of compositions so new in style, or by prudence, choosing to delay their publication until they had been so often performed from the manuscript as to secure their comprehension and appreciation, and thus an adequate number of subscribers. In the meantime he prepared the way for them by publishing a few sets of variations. “Beethoven had composed variations on themes from Mozart’s ‘Zauberflöte,’ which he had already sketched in Bonn, and Zmeskall took it upon himself to submit them to a publisher; but they had only a small sale.” (The Fischoff MS.) This refers doubtless to the Variations “Se vuol ballare” from “Le Nozze di Figaro,” which, having been revised and improved by a new coda, came out in July, 1793, with a dedication to Eleonore von Breuning. It was not until the next year that the thirteen variations upon the theme “Es war einmal ein alter Mann,” from Dittersdorf’s “Rothkäppchen,” appeared, and these were followed by those for four hands on the Waldstein theme, first advertised in January, 1795.
In fact, Beethoven evidently was in no haste to publish his compositions. It will presently be seen that he sent the “Se vuol ballare” variations to press partly at the request of others and partly to entrap the rival pianists of Vienna. A few years later we shall find him dashing off and immediately publishing variations on popular theatrical melodies; but works of greater scope, and especially his pianoforte concertos, were for the most part long retained in his exclusive possession. Thus the Pianoforte Concerto in B-flat major, Op. 18, though supposed by Tomaschek to have been composed at Prague in 1798, certainly (if Beethoven’s own words in a letter to Breitkopf and Härtel are to be believed) preceded in composition that in C major, Op. 15, and must, therefore, have been finished at the latest in March, 1795, and was doubtless often played by him at private concerts during the period now before us. It was not published until 1801.
Let the reader now recall to mind some of the points previously dwelt upon: the Fischenich letter of January and Neefe’s letter of October, 1793, which record the favorable reports sent to Bonn of Beethoven’s musical progress; his studies with Haydn and Schenk; the cares and perplexities caused him temporarily by the death of his father, and the unpleasant circumstances attending that event; his steady success as a virtuoso; his visit in the summer to Prince Esterhazy; and it is obvious with what industry and energy he engaged in his new career, with what zeal and unfaltering activity he labored to make the most of his opportunities. In one year after leaving Bonn he felt his success secure, and no longer feared Hamlet’s “slings and arrows of outrageous fortune.” This is indicated in a passage (“O, how we shall then rejoice together,” etc.) of the earliest of his Vienna letters which has been preserved—that letter in which, as Wegeler remarks, “he asked pardon for much more error than he had committed,” and which, though often reprinted from the “Notizen,” is too important and characteristic to be here omitted.
Beethoven Sues for Pardon
Vienna, November 2, 93.