Beethoven: Trio in C major, Op.87

Introduction

This work carries a higher opus number than others from the time of its composition because it was not published until 1806. Beethoven had begun experiencing some financial difficulties in the years after 1800 and thus began to reach into his deep fund of unpublished early works. He typically revised these compositions when needed, however, and continued to withhold from publication some that did not meet his high standards.

The Trio for Two Oboes and English Horn was composed at a time when Beethoven's music still divulged the influence of Mozart and Haydn. Still, there is no mistaking the style of the music in the Trio. For one thing, much of the music displays that hurried and muscular character so typical of the composer. It is also nothing that while Beethoven was only 25 when he wrote the Trio, the music's demeanor is quite serious, almost sounding like the work of mature composer.

The first movement, marked Allegro, has a comparatively nonchalant character, and sounds the most conventional of the four movements. Mozart comes to mind here in particular, but mainly in spirit and formal design. One clearly recognizes that Beethovenian busyness in the music, even despite the slightly less serious mood. The main theme, with its repeated note near the beginning, sounds a little stiff, but the movement as a whole has a fair amount of charm. The second-movement (Adagio cantabile), offers a lovely main theme, and the whole of the movement is pure Beethoven, its brilliant scoring and slow tempo being rather unusual for this kind of music at this time. The third movement carries the markings Menuetto, Allegro molto, Scherzo, but is almost a genuine Scherzo. Its fast music and muscular style give it that Beethovenian stamp, and make a fine contrast to the preceding Adagio. The finale, marked Presto, is another brilliant movement, though here Haydn steps forth, both thematically and formally. Again, however, Beethoven never becomes imitative in any passage. The music is full of humor and deft touches, and this movement, a Rondo, ends with a brilliant coda.

All in all, this is a fine work, though not of major consequence in the composer's output. A typical performance of this piece lasts from 23 to 26 minutes.

Parts/Movements

1. Allegro
2. Adagio cantabile
3. Menuetto, Allegro molto, Scherzo
4. Finale, Presto