Switched On – Arthur King: Changing Landscapes (Mina Las Pintadas) (AKP Recordings)

Reviewed by Ben Hogwood

What’s the story?

The Changing Landscapes series has already reaped handsome sonic rewards for Arthur King, the multimedia project spearheaded by electronic craftsman Peter Walker.

He has already given us dispatches from the Utah desert, a farm in Iowa and the Isle of Eigg, but for this latest instalment King heads underground to a copper mine in Chile.

What’s the music like?

Descriptive and compelling. As in previous instalments, Arthur King uses field recordings of the mine’s machinery and environment, looking to get to the heart of its workings.

The mechanical processes are the ideal foil to a plethora of interesting melodic ideas, presented in rich and evocative colours. Because of the dark subject matter a lot of this music feels nocturnal, with the colour added by ticking machinery or sonorous brass instruments.

There is easy ambience to start with, and the machinery of the mine can be heard supporting the soft timbres of Gracias a San Lorenzo. Tierra Amarilla has evocative, nocturnal brass and scratchy, turntable derived percussion, the brass drawing a few parallels towards Jóhann Jóhannsson’s The Miner’s Hymns.

La Farola has a steady drip drip of percussion, but also operates on a wider sonic scope, allowing the ear to choose between the two – a familiar characteristic of this music Soon some solemn brass intonation can be heard, taking on a mournful discourse towards the end. A substantial track, it is compelling from start to finish. Caminando has soft tones but the ticking clock adds urgency and momentum.

Does it all work?

Consistently. Headphones reveal the wide range of sounds and textures, while the longer musical structures are very satisfying in the way they evolve and stretch out. The range of colours and breadth of imagination are also deeply impressive.

Is it recommended?

Yes – a fascinating aural portrait but also a powerful and evocative sequence of music. Once youve spent time in the Chilean mine, a deep dive into the rest of Arthur King’s output is highly recommended.



Listening to Beethoven #212 – Allemande in A major, WoO 81

Entwurf Beethoven-Gedenkmünze 1970 (5 Deutsche Mark)

Draft for a Beethoven commemorative coin for 5 Deutsche Mark, 1969 – Photograph of an unmarked model (picture courtesy of the Beethovenhaus, Bonn)

Allemande in A major WoO 81 for piano (1793-1822)

Dedication not known
Duration 1’30”


written by Ben Hogwood

Background and Critical Reception

Some of Beethoven’s smaller pieces for piano have a very broad date margin. This Allemande is a case in point, given a composition date of 1793-1822 – the final date indicating a possible revision in his attempt to place it in the set of 11 Bagatelles Op.119. It is placed here to complement the Bagatelle we explored yesterday.

Writing the booklet notes for Ronald Brautigam’s recording, Roeland Hazeldonk talks of the ‘vast number of sketches he (Beethoven) had accumulated since before his arrival in Vienna’. There are many more of those for us to enjoy over the coming instalments.


The Allemande is a flowing piece with an easy temperament. Its florid right hand and relatively static left suggests a kind of etude, though the mood changes with Beethoven slips seamlessly into the minor key, and a more obvious dancing rhythm. After this brief shadow, the flowing music returns and all is well again.

Recordings used and Spotify playlist

Ronald Brautigam (BIS)
Gianluca Cascioli (Deutsche Grammophon)
Martino Tirimo (Hänssler)

Ronald Brautigam enjoys the expanse of the major key section, while Gianluca Cascioli is very brisk indeed with his tempo choice, wrapping everything up in just over a minute. Martino Tirimo is very easy going, and in his hands the minor-key central section becomes an elegant dance.

You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!

Next up Piano Sonata no.21 in C major Op.53 ‘Waldstein’

Listening to Beethoven #211 – Bagatelle in C major, WoO 56

Commemorative medal for Ludwig van Beethoven – Gold-plated bronze medal from the BH Mayer foundry based on a design by Rudolf Mayer, Pforzheim, 1903 (picture courtesy of the Beethovenhaus, Bonn)

Bagatelle in C major WoO 56 for piano (c1803-4, Beethoven aged 33)

Dedication not known
Duration 2’45”


written by Ben Hogwood

Background and Critical Reception

Although Beethoven published a 24 bagatelles in collections through his life, beginning with the seven published as Op.33 in 1802, there were a number of short pieces that did not get as far as publication. They reveal something of the composer’s sketchpad, and some of the directions in which he was experimenting.

Bryce Morrison remarks briefly in his Chandos booklet note that the piece is ‘less interesting’, but Keith Anderson, writing for Naxos, observes that ‘the undated Bagatelle is a curiously capricious little piece, with its imitative entries and sudden whimsical shifts of key’.


Beethoven’s Bagatelles are never without incident, and though to the untrained observer a Bagatelle in C major would seem to be something of a routine encounter, this is far from the case.

The music starts with Beethoven lost in thought, and the implication is that a fugal exercise is about to begin, albeit one with a chromatic melody. This breaks off in mid-phrase, and the music restlessly moves around in search of a key, the left hand wandering off and having to be brought back into line. The ending resolves happily enough in C major, but there is a distracted feeling to this particular Bagatelle.

Recordings used and Spotify playlist

Jenő Jandó (Naxos)
Mikhail Pletnev (DG)
Ronald Brautigam (BIS)
John Lill (Chandos)

Beethoven bagatelles encourage experimentation among pianists, and comparing the versions from Mikhail Pletnev, Ronald Brautigam and John Lill is very instructive. The first two are quick, while Lill gives a thoughtful account. Brautigam has plenty of air to fill in his reverberant recording, while the Jenő Jandó version shares a track with the Presto in C minor – the Bagatelle itself beginning at 4’13”.

You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!

Also written in 1803 Danzi Preiss Gottes

Next up Allemande in A major, WoO 81

Listening to Beethoven #210 – “Tremate, empi, tremate”, Op.116

Portrait of Niccolo Bentini, artist unknown

“Tremate, empi tremate”, Op.116 for soprano, tenor, baritone and orchestra (1803-4, published 1814. Beethoven aged 33 at time of composition)

Dedication Not known
Text Niccolo Bentini
Duration 9′


by Ben Hogwood

Background and Critical Reception

A dramatic trio for three vocal soloists and orchestra, Tremate, empi, tremate has its origins in Beethoven’s lessons with Salieri. It is thought Beethoven drafted the work early on in 1802, but it did not receive a first performance for quite some time. It was scheduled for April 1803, but that concert became full of new works such as the first two symphonies, the Piano Concerto no.3 and Christ on the Mount of Olives. The première of the trio finally occurred several years later during a similarly large concert on 27 February 1814, alongside the Seventh and Eighth Symphonies and Wellington’s Victory. Nicholas Marston’s note for Hyperion tells us that the vocal parts were sung by the star soprano Anna Milder-Hauptmann (Beethoven’s first Leonore), Giuseppe Siboni and Carl Weinmüller, who created the role of Rocco in Fidelio.

Salieri is likely to have suggested the text – Tremate, empi, tremate translating as Tremble, guilty ones, tremble – and which tells a turbulent love story. Soprano Chen Reiss, interviewed for Arcana, talked about the piece. “It reminded me a little of the trio in Fidelio with the Father and the two lovers. Marzelline is thinking that Fidelio is a man, and she’s in love with him, and the father basically gives his blessing. It is of course a different story altogether, but the ending is very dramatic. I think it’s a very good piece to perform as an encore in a concert, don’t you agree?”

Given the way the voices combine, and the dramatic third part, she has a strong point. “Yes. I think it is very well conducted, with the middle part which has these beautiful long lines. I think it is an early piece, and of course Beethoven has these dramatic parts, which come later, but he also has a very good sense of lyricism and melodic beauty, a pureness which reminds me very much of Mozart and Haydn. You see it in these early works that he was more classical, and then he became much more dramatic.”


Tremate certainly is a dramatic piece of music, and Beethoven wastes no time in making a bid for his audience with a call to arms from the bass. The soprano and tenor – now a couple – respond but the baritone declares “I want them both restrained”. He is the poisoned onlooker, the other two declaring their innocence.

As the dramatic scene unfolds so too does Beethoven’s vocal writing, with the voices dominating and very little chance for breath between their thoughts, certainly in the breathless opening. The second section gives the soprano and tenor more room to declare their love, finishing each others musical sentences to ‘classical’ accompaniment from the small orchestra. The bass is never far from their side, however, still lamenting his lot.

After a tender clinch we return to the stormy music of the opening, with rolling timpani and braying horns as the three soloists face off. Translated, the text reads, “Cruel stars, I have tolerated for long enough this violent cruelty” – which would still seem to mean a dreadful outcome for the bass and togetherness for the other two.

It is another example of Beethoven’s dramatic vocal writing, though does give the impression to start with that it is trying all the tricks to impress his teacher. There is never a dull moment, that’s for sure!

Spotify playlist and Recordings used

Diana Tomsche (soprano), Joshua Whitener (tenor), Kai Preußker (baritone), Heidelberg Symphony Orchestra / Timo Jouko Herrmann (Hänssler)

Reetta Haavisto (soprano), Dan Karlström (tenor), Kevin Greenlaw (baritone), Turku Philharmonic Orchestra / Leif Segerstam (Naxos)

Janice Watson (soprano), John Mark Ainsley (tenor), Gwynne Howell (bass), Corydon Orchestra / Matthew Best (Hyperion)

Chen Reiss (soprano), Jan Petryka (tenor), Paul Armin Edelmann (baritone), Beethoven Philharmonie / Thomas Rosner (Odradek)

Four fine recordings – but by a whisker the finest is the newest, headed by Chen Reiss. The playlist below collects five versions together, while a clip from the sixth – with Janice Watson and company – can be heard on the Hyperion website

The below playlist collects all three recordings referred to above:

You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!

Also written in 1804 Ferdinando Paer Leonora

Next up Bagatelle in C major, WoO 56

Listening to Beethoven #209 – Notturno in D major Op.42


Beethoven’s viola © Beethoven Haus Bonn

Notturno in D major Op.42 arranged for viola and piano by Franz Xaver Kleinheinz under Beethoven’s guidance) (1804, Beethoven aged 33)

Dedication unknown
Duration 28′

1. Marcia: Allegro
2. Adagio
3. Menuetto: Allegretto
4. Adagio – Scherzo: Allegro molto – Adagio – Allegro molto – Adagio
5. Allegretto alla Polacca
6. Andante quasi allegretto – Variations 1-4 – Allegro – Tempo I
7. Marcia: Allegro


by Ben Hogwood

Background and Critical Reception

Nicholas Marston, writing booklet notes for a Hyperion recording of the Notturno, notes, “The growing amateur market for music in the late eighteenth and early nineteenth centuries encouraged publishers to increase their profits by issuing suitable works in all manner of instrumental arrangements.”

In this spirit, the Notturno in D major is essentially a recasting of the Serenade in D major Op.8, a versatile piece where Beethoven had already authorised an arrangement for flute and piano. This one, completed with the composer’s compliance, was for Beethoven’s own instrument (the viola) and piano.

Beethoven, says Marston, “had little respect for the practice and attempted to exercise some control over it”. Yet the Nocturne was released by the Leipzig publisher Hoffmeister and Kühnel in 1804 in an arrangement by Franz Xaver Kleinheinz (c1770-1832), who was also responsible for the arrangement of Beethoven’s Serenade Op.25 for flute and piano. The score was approved by Beethoven, though not without corrections – made in a fit of pique.

The piece retains its substantial dimensions, being in the originally cast seven movements.


Kleinheinz has, to these ears at least, done a thoroughly good job with Beethoven’s original, giving the viola one of its most substantial pieces from the early 19th century. The brisk, upbeat first movement falls nicely into the instrument’s confines, while the tender side of the viola is revealed in soft, soulful double stopping in the second movement Adagio, together with lyrical passages and a central episode in the minor key with more serious thinking.

The Menuetto is brisk and breezy, while the drama heightens in the central fourth movement Adagio, with several abrupt changes of speed and mood. The relative turmoil of this is complemented by the nimble Allegretto alla Polacca. The substantial penultimate movement Andante quasi Allegretto finds a great deal of expression in the viola’s hands, while the final Marcia has an appreciable heft.

Recordings used and Spotify links

Paul Coletti (viola), Leslie Howard (piano) (Hyperion)
Gérard Caussé
, François-René Duchâble (Erato)
Nobuko Imai
, Roger Vignoles (Chandos)
Nils Mönkemeyer
, Nicholas Rimmer (Genuin)
Simon Rowland-Jones
, Niel Immelman (Meridian)

Some fine versions here, especially those of Nobuko Imai, Gerard Caussé and Paul Coletti. Coletti and Howard provide excellent companion pieces int the fiery early Mendelssohn sonata and Schumann’s Märchenbilder to put the piece in context.

You can listen to clips from the Coletti-Howard account on the Hyperion website, while the rest you can hear in full on this Spotify playlist:

You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!

Also written in 1804 Eberl Symphony in D minor, Op. 34

Next up Tremate, empi tremate Op.116