Performing Beethoven’s Piano Trio in C minor, Op. 1 No. 3 was especially meaningful after exploring the story behind his decision to publish the trios as his Opus 1. Listening, balancing and responding to the other musicians gave me a new perspective on Beethoven’s music and the privilege of bringing it to life in performance.

After almost a year in Chamber Choir, I have discovered that singing is not only about my own voice. From balancing the bass with other sections to listening for the moment when fourteen voices become one, I am fascinated by how individual sounds can come together to create something greater than themselves.

In Beethoven’s Op. 1 No. 3, the piano and cello sometimes share the same musical line. But in rehearsal, making both voices heard became the real challenge.

A conversation about modern product launches made me wonder: was Beethoven’s choice of Op. 1 also a deliberate way to stand out and establish his name?

Listening to the orchestral version of Une barque sur l'océan transformed the way I approached the piano. Instead of thinking only about notes and technique, I began to imagine different instrumental voices, colours, and the atmosphere they create. This practice journal reflects on how hearing beyond the piano helped me shape a richer musical sound.