ATOS Trio: Beethoven Piano Trio op.1 no.3 in c-minor - live 

YES!

They just found the best sound for this work, their playing as a trio is EXQUISITE~

David Roddis o

Yes, young Beethoven was already mature. Not just as personality but as an artist. I'm particularly impressed by the congenial pianist.

Very true indeed...

So do I!

Brava! I played the Spring Sonata (vln & pno) years ago, loved it, wonderful violinist. In subsequent years did some Brahms duo works: Eb viola and pno; E minor cello & pno it is just the best!! This trio just has a great ensemble and sound!

Wow bold of you to say that the pianist is an accompanist, if anything in this piece he is the soloist.

I don't understand Italian, but I like you.

+Robin Tranter Haydn said to Ludwig he shouldN'T publish it..lol (..edited)

haydn also said he shouldnt publish op1 nr 3, he didnt like it ;) besides that, beethoven had composed some trios before this one but didnt wanna publish them.

@@geem3905 He was jelous, that's all. Remember Pleyel... :-D

Spazio Digitale There is no evidence that Haydn was jealous of anyone. The Pleyel story (Haydn passing off two of Pleyel’s trios as his own) was Haydn the unscrupulous businessman in the age before copyright, and therefore was almost acceptable. Haydn and his former pupil Pleyel got on well with each other whilst together in London (set up as rivals) from December 1791 until May 1792; in fact, there was little rivalry at all as Haydn - in short - blew every rival out of the water.

Robin Tranter It is difficult to justify that the young and inexperienced Beethoven’s Opus 1 is a ‘...masterpiece equal to Haydn and Mozart’, the two composers who most completely defined the late eighteenth century Classical style - it is not. What is true is that Beethoven stood on the threshold of an entirely new age which is clearly evident in this piece, a harbinger of what was to come, and as Haydn himself noted with remarkable prescience, Beethoven was destined to take his place amongst the greatest of composers.

sousafan100 Beethoven and Mozart never met, though Beethoven did possibly hear Mozart play on a brief visit to Vienna in 1787 - his comments were not particularly complimentary, and he said Mozart had a very ‘choppy’ keyboard technique ie no legato. Beethoven was well aware of - and rated highly - a great many of Mozart’s works, but as a composer, largely avoided the areas of Mozart’s greatest work, most notably opera and the concerto. Beethoven’s links with Haydn are rather more substantial,* not just as Haydn’s counterpoint pupil, but in what he learnt from him about the art of composing in which there is rather more of Haydn in Beethoven’s dna than there is of Mozart. You’re right though - a worthy successor to Mozart and Haydn. * Beethoven first met Haydn in Bonn in 1790, and probably for the last time in 1808 at the famous performance of The Creation in Vienna conducted by Salieri (in Italian), attended by both Haydn and Beethoven. That is over 18 years on and off, sometimes even under the same roof as when Beethoven stayed at the Esterhazy palace in Eisenstadt in 1793 whilst Haydn was there in-between his two trips to England.

Why? Brahms trios are easily the equal.

@@matthewtaylor4555 Brahms's 3 Piano Trios (or is it 4?) are absolutely marvellous.

No.

It’s a piano trio

A really sensitive pianist, no way he is to load.

In chamber music of the earlier classical period the piano used to be a sort of solo instrument accompanied by strings. It‘s very similar in Mozart‘s early sonatas for piano and violin. You hear in Beethoven‘s op. 1 that he is only beginning to diverge from that tradition. There is a hilarious description in Ernst Heimeran‘s „Das Stillvergnügte Streichquartett“ of a violinist and a cellist desperately trying to make themselves heard against the dominant piano by playing unisono fortissimo. As they don‘t succeed they grudgingly decide to found a string quartet.