The first thought that comes to mind when we see the Opus 1 score title, is that it is probably the first work, or at least one of the first composed by the composer. This thought is not true to say the least. The first opus of each composer will usually include the work or works he chooses to present as those that fully represent him and he can stand behind them, as if they were the first brick on which the complex of his works would be built. This was exactly the situation with Beethoven’s first opus which included three piano trios. Beethoven was already a highly skilled composer and a highly sought-after pianist and had completed a ballet piece, a piano concerto, nine quartets, many songs and other works for various chamber ensembles.

Ferdinand Ries, Beethoven’s friend and student, described the event: “Most of the important artists and music lovers were invited, led by Haydn, whose last quartets were the hottest talk in town.” The trios were played, and were received with enthusiasm. Haydn said many beautiful and flattering things about the compositions, but advised Beethoven to wait with the publication of the latest trio, the one in C minor. Beethoven received this criticism harshly. He himself considered the third trio to be the best among the three. He was left with a grudge against Hayden and suspected him of being jealous. The impetuous Beethoven did not try to understand Haydn’s comment in depth. Haydn had no tendency to be jealous of talented young composers, as expressed in his wonderful relationship he had with Mozart. Haydn apparently considered the piece quite bold and thought it would not be well received by the public and thought it would be better to wait a bit.

Ferdinand Reys, Beethoven’s friend and student, described the event: “Most of the artists and music lovers were invited, led by Haydn, whose last fours were the hottest talk in town.” The trios were played, and immediately received enthusiasticaly. Haydn also said many beautiful flattering things about the works, but advised Beethoven to wait with the publication of the latest trio, the one in C minor. Beethoven received this criticism harshly. He himself considered the third trio to be the best among all. He was left with a grudge against Haydn and suspected him of being jealous. The impetuous Beethoven did not try to understand Haydn’s remarks in depth. Haydn had no tendency to be jealous of talented young composers, and to witness the wonderful relationship he had with Mozart. Haydn apparently considered the piece very bold and thought it would not be well received by the public and that it would be better to wait a bit.

During the two years between the premiere and publishing, Beethoven corrected the trio and organized numerous private performances to encourage the selling of the scores by professional and amateur musicians alike. This move proved successful and the works were a great success and were published by the prestigious publishing house “Artaria & Co.” The success was so great that Beethoven managed to sell over 240 copies and earned enough money to live comfortably for an entire year. Interest in Beethoven also grew among the Viennese aristocracy which later yielded him significant other patrons.

Szeryng, the celebrated violinist, joins the trio and conducts the class from the violinist’s chair. The lesson touches on several aspects of musical expression in general and those related to Beethoven’s music performance in particular. In his characteristic sharp and articulate playing, Szeryng illustrates the ways in which the drama embodied in Beethoven’s music should be realized, in the dichotomous contrast between delicacy and tenderness and decisiveness and even savagery and violence. He tries to make them not feel afraid of “going wild” when necessary. In his work which closely follows the score’s instructions, he tries to intuitively instill in students the importance of understanding these instructions and following them as a necessary step in understanding the music and reaching a correct interpretation. This form of work, when the teacher, the world-renowned musician, joins the young musicians and guides them as a partner and not just as an observer or listener from the side allows musicians an empowering and inspiring experience.