Beethoven, Ludwig van. (1770–1827). TROIS TRIOS Pour le Piano-Forte, Violon, et Violoncelle. Composés & Dediés à Son Altesse Monseigneur le Prince Charles de Lichnowsky...Oeuvre 1re.. Vienna: Artaria. [1795]. Oblong piano score, 25 x 36 cm. [1], 65 p. Engraved throughout, [PN] 563 on title page only, to left of imprint. At right, price of 4 f 30. Second Titelaufage of the first edition. Kinsky-Halm p. 5; Cf. Dorfmüller, Beiträge zur Beethoven Bibliographie, p. 292. Rare. Publications of Beethoven from the eighteenth century are extremely uncommon. Worldcat records one copy only of this edition.
In black textured paper boards, title plate affixed to front board. Early ownership signature "Lindenthal" lower right of title page, ink stains in margin of title and left edge of page repaired and reinforced with paper from verso. Final page reinforced with paper along inner edge. Otherwise a fine and clean copy throughout.
The first of the composer's published works which the composer thought to be important enough to be given an opus number. The trios were composed in 1794 and 1795, possibly with older precursors for the first trio from Beethoven's first years in Vienna in 1792/93. First performed at a private concert in the home of his patron Prince Lichnowsky, at which Beethoven's former teacher Joseph Haydn was present. Ferdinand Ries writes about the evening in his "Biographischen Notizen über Ludwig van Beethoven" from 1838, "The three trios by Beethoven (Opus 1) were to be played to the artistic world for the first time at a soirée held at Prince Lichnowksy's. Most artists and music lovers had been invited, in particular Haydn, whose pronouncement was eagerly awaited by all. The trios were played and caused a great stir. Even Haydn said many nice things about them, but advised Beethoven not to publish the third one in C minor. This greatly surprised Beethoven, as he considered it to be the best one, and today it is still the one that is most popular and which is the most effective. So Haydn's remark angered Beethoven and made him think that Haydn was envious, jealous and wanted to do him an injustice. I must admit that when Beethoven told me this I did not believe him. I therefore took the opportunity to ask Haydn himself. His answer did, however, confirm what Beethoven had mentioned, as he said he did not think that this trio would be understood very quickly or easily and that the public would not take to it very well."
In black textured paper boards, title plate affixed to front board. Early ownership signature "Lindenthal" lower right of title page, ink stains in margin of title and left edge of page repaired and reinforced with paper from verso. Final page reinforced with paper along inner edge. Otherwise a fine and clean copy throughout.
The first of the composer's published works which the composer thought to be important enough to be given an opus number. The trios were composed in 1794 and 1795, possibly with older precursors for the first trio from Beethoven's first years in Vienna in 1792/93. First performed at a private concert in the home of his patron Prince Lichnowsky, at which Beethoven's former teacher Joseph Haydn was present. Ferdinand Ries writes about the evening in his "Biographischen Notizen über Ludwig van Beethoven" from 1838, "The three trios by Beethoven (Opus 1) were to be played to the artistic world for the first time at a soirée held at Prince Lichnowksy's. Most artists and music lovers had been invited, in particular Haydn, whose pronouncement was eagerly awaited by all. The trios were played and caused a great stir. Even Haydn said many nice things about them, but advised Beethoven not to publish the third one in C minor. This greatly surprised Beethoven, as he considered it to be the best one, and today it is still the one that is most popular and which is the most effective. So Haydn's remark angered Beethoven and made him think that Haydn was envious, jealous and wanted to do him an injustice. I must admit that when Beethoven told me this I did not believe him. I therefore took the opportunity to ask Haydn himself. His answer did, however, confirm what Beethoven had mentioned, as he said he did not think that this trio would be understood very quickly or easily and that the public would not take to it very well."
Beethoven, Ludwig van. (1770–1827). TROIS TRIOS Pour le Piano-Forte, Violon, et Violoncelle. Composés & Dediés à Son Altesse Monseigneur le Prince Charles de Lichnowsky...Oeuvre 1re.. Vienna: Artaria. [1795]. Oblong piano score, 25 x 36 cm. [1], 65 p. Engraved throughout, [PN] 563 on title page only, to left of imprint. At right, price of 4 f 30. Second Titelaufage of the first edition. Kinsky-Halm p. 5; Cf. Dorfmüller, Beiträge zur Beethoven Bibliographie, p. 292. Rare. Publications of Beethoven from the eighteenth century are extremely uncommon. Worldcat records one copy only of this edition.
In black textured paper boards, title plate affixed to front board. Early ownership signature "Lindenthal" lower right of title page, ink stains in margin of title and left edge of page repaired and reinforced with paper from verso. Final page reinforced with paper along inner edge. Otherwise a fine and clean copy throughout.
The first of the composer's published works which the composer thought to be important enough to be given an opus number. The trios were composed in 1794 and 1795, possibly with older precursors for the first trio from Beethoven's first years in Vienna in 1792/93. First performed at a private concert in the home of his patron Prince Lichnowsky, at which Beethoven's former teacher Joseph Haydn was present. Ferdinand Ries writes about the evening in his "Biographischen Notizen über Ludwig van Beethoven" from 1838, "The three trios by Beethoven (Opus 1) were to be played to the artistic world for the first time at a soirée held at Prince Lichnowksy's. Most artists and music lovers had been invited, in particular Haydn, whose pronouncement was eagerly awaited by all. The trios were played and caused a great stir. Even Haydn said many nice things about them, but advised Beethoven not to publish the third one in C minor. This greatly surprised Beethoven, as he considered it to be the best one, and today it is still the one that is most popular and which is the most effective. So Haydn's remark angered Beethoven and made him think that Haydn was envious, jealous and wanted to do him an injustice. I must admit that when Beethoven told me this I did not believe him. I therefore took the opportunity to ask Haydn himself. His answer did, however, confirm what Beethoven had mentioned, as he said he did not think that this trio would be understood very quickly or easily and that the public would not take to it very well."
In black textured paper boards, title plate affixed to front board. Early ownership signature "Lindenthal" lower right of title page, ink stains in margin of title and left edge of page repaired and reinforced with paper from verso. Final page reinforced with paper along inner edge. Otherwise a fine and clean copy throughout.
The first of the composer's published works which the composer thought to be important enough to be given an opus number. The trios were composed in 1794 and 1795, possibly with older precursors for the first trio from Beethoven's first years in Vienna in 1792/93. First performed at a private concert in the home of his patron Prince Lichnowsky, at which Beethoven's former teacher Joseph Haydn was present. Ferdinand Ries writes about the evening in his "Biographischen Notizen über Ludwig van Beethoven" from 1838, "The three trios by Beethoven (Opus 1) were to be played to the artistic world for the first time at a soirée held at Prince Lichnowksy's. Most artists and music lovers had been invited, in particular Haydn, whose pronouncement was eagerly awaited by all. The trios were played and caused a great stir. Even Haydn said many nice things about them, but advised Beethoven not to publish the third one in C minor. This greatly surprised Beethoven, as he considered it to be the best one, and today it is still the one that is most popular and which is the most effective. So Haydn's remark angered Beethoven and made him think that Haydn was envious, jealous and wanted to do him an injustice. I must admit that when Beethoven told me this I did not believe him. I therefore took the opportunity to ask Haydn himself. His answer did, however, confirm what Beethoven had mentioned, as he said he did not think that this trio would be understood very quickly or easily and that the public would not take to it very well."