Category Archives: Listening to Beethoven

Listening to Beethoven #205 – Das Glück der Freundschaft (Vita felice) Op.88

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schulz-friendship

Peanuts comic strip, drawn by Charles M. Schulz (c)PNTS

Das Glück der Freundschaft Op.88 (Vita felice) for voice and piano (1803, Beethoven aged 32)

Dedication not known
Text Anon / Christian Tiedge
Duration 2’30”

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Background and Critical Reception

Slightly confusingly, this song has a title in German but the words are in Italian. This is because the original text from which the words are taken is the anonymous Vita felice – which were then seemingly adapted by Christian Tiedge.

The date of composition, and the language, suggest this song to be a product of Beethoven’s studies with Salieri in Vienna, which were just coming to an end.

Thoughts

A flourish from the piano begins this ode to the joy of friendship, ‘offering its hand in these hard times’. The vocal line has a largely stepwise movement, closely shadowed by the piano – but Beethoven does take the opportunity with the key of E major to use some more exotic harmonies.

The profile of the song is quite expansive. Its flowing nature and characterisation are close to Schubert in style, suggesting an influence on the latter composer’s Lieder that is not considered very often.

Recordings used

Pamela Coburn (soprano), Leonard Hokanson (piano) (Capriccio)
René Jacobs (countertenor), Jos Van Immerseel (fortepiano) (Accent)
Dietrich Fischer-Dieskau (baritone), Jörg Demus (piano) (Deutsche Grammophon)

Pamela Coburn has a bright sound in her version, which is transposed up from E major. René Jacobs, full of tone, sings at ‘period’ pitch with Jos van Immerseel giving flowing support on the fortepiano, Perhaps inevitably the version to treasure is from Dietrich Fischer-Dieskau, commanding but elegant and with fulsome support from Jörg Demus.

Also written in 1803 Salieri Gesù al limbo

Next up 3 Marches for piano four hands, Op.45

Listening to Beethoven #204 – Minuet in E flat major WoO 82

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Commemorative medal for Ludwig van Beethoven, 1927 – Bronze medal from the Hungarian Ministry of Culture based on a design by József Reményi

Minuet in E flat major WoO 82 for piano (1803, Beethoven aged 32)

Dedication not known
Duration 4′

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written by Ben Hogwood

Background and Critical Reception

There is some doubt around when this piece was first written. In his notes for Ronald Brautigam’s BIS recording of the Minuet, Roeland Hazendonk notes how an early Beethoven scholar found an early edition of the piece seemingly dating from Beethoven’s time in Bonn in his early teens.

It was however published in 1805, and has proved to be a hit with students starting out on the piano. Hazendonk says this is due to its ‘full, orchestral sonority’.

Thoughts

This is a very easy-going dance, with a repetitive theme that becomes quite an earworm. It is a relatively slow tempo, almost Andante, with poise and a hint of humour. The middle section moves to A flat major, encouraging the pianist to take flight in the right hand a little more, before returning to the easy charm of the first theme.

A simple but enjoyable piece.

Recordings used and Spotify playlist

Ronald Brautigam (BIS)
Jenő Jandó (Naxos)
Gianluca Cascioli (Deutsche Grammophon)
Martino Tirimo (Hänssler)
Olli Mustonen (Decca)

Olli Mustonen plays this piece a little impishly, and is the fastest of the five interpretations considered here. Martino Tirimo is very slow, while in Ronald Brautigam’s hands the dance feels rather earthbound and foursquare.

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 Pleyel 3 Keyboard Trios, B.474–476

Next up Das Glück der Freundschaft Op.88

Listening to Beethoven #203 – Prelude in F minor WoO 55

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Commemorative medal for the unveiling of the Beethoven monument in Vienna – bronze medal based on a design by Anton Scharff depicting the Beethoven sculpture by Caspar von Zumbusch

Prelude in F minor WoO 55 for piano (1803, Beethoven aged 32)

Dedication not known
Duration 3′

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written by Ben Hogwood

Background and Critical Reception

Roeland Hazendonk, writing booklet notes for the recording made by Ronald Brautigam for BIS, describes this piece as ‘an almost perfect pastiche of a prelude by Bach’, drawing attention to its similarity with the Prelude in the same key from the first book of Bach’s Well-Tempered Clavier.

Thoughts

If you heard this piece without knowing, your first guess at a composer would surely not be Beethoven, for this is a piece of incredibly accurate pastiche. It is remarkably similar in both mood and profile to the F minor prelude of Bach referred to above, yet it is clearly not a copy as you will hear by comparing the two:

Beethoven starts the Prelude confidently, and it evolves naturally in a series of arpeggios that pass instinctively between the hands. For much of the piece he keeps the tonality close to F minor, though the central section starts wandering towards further flung keys. It all comes back together for a poised conclusion.

Perhaps this was a study for one of Beethoven’s teachers at the time, but it expresses his knowledge and love of Bach better than words could possibly manage!

Recordings used and Spotify playlist

Jenő Jandó (Naxos)
Olli Mustonen (Sony BMG)
Ronald Brautigam (BIS)

Gianluca Cascioli adopts a slow and steady tempo, but gives great feeling to his performance. Ronald Brautigam is much quicker but still allows the notes to breathe, pausing at strategic points in the music to give the phrasing a natural structure.

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 1802 Reichardt Das Zauberschloss

Next up 6 Ländler WoO15

Listening to Beethoven #202 – Serenade in D major Op.41

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View of Freyung Plaza in Vienna from South-East by Bernardo Bellotto

Serenade in D major Op.41 for flute and piano, arranged by Franz Xaver Kleinheinz (1803, Beethoven aged 32)

Dedication not known
Duration 22′

1. Entrata, Allegro
2. Tempo ordinario d’un Menuetto
3. Allegro molto
4. Andante con Variazioni
5. Allegro scherzando e vivace
6. Adagio – Allegro vivace e disinvolto

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Background and Critical Reception

The original version of this serenade, for flute, violin and viola, was completed in 1801. It was sufficiently popular for Beethoven to be approached for an arrangement by Franz Xaver Karlheinz, who was keen to use it for flute and piano. Beethoven approved, further adding his assent by checking the finished version, which was published in 1803.

As Arcana noted with the original version, there are six movements in a piece which appears not to have been written with any particular person in mind, more for the Viennese domestic market.

Thoughts

As noted in the original version of the Serenade, ‘Beethoven looks back to Mozart and Haydn with this piece, using the form of a Serenade to its full potential. Like Mozart he brings the most out of seemingly small forces’.

The arrangement for flute and piano works well, though the piano is in danger of dominating if there is not the required sensitivity from the player. The music remains bright and breezy, its good tunes exchanged frequently between flute and piano. The third movement, while lively, is noticeably heavier with the piano employed, while the first movement can also be punchier with the greater attack a piano offers. The dance movements, however, are enjoyably rustic and retain their charm, the fifth movement breezing along and the sixth, with its slow introduction, full of good humour too.

Recordings used and Spotify links

Jean-Pierre Rampal (flute), Robert Veyron-Lacroix (piano) (Vox Box)
Emmanuel Pahud (flute), Eric Le Sage (piano) (Auvidis Valois)
Kazunori Seo (flute), Makoto Ueno (piano) (Naxos)

Each of these three versions features a flautist who appears to be thoroughly enjoying themselves. Emmanuel Pahud is arguably the most stylish, and has an attentive partner in Eric Le Sage, but the other versions are also very enjoyable.

You can listen to these versions on the playlist below:

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 Paganini Le streghe Op.8

Next up Prelude in F minor WoO55

Listening to Beethoven #201 – 5 Variations on ‘Rule, Britannia’ WoO79

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beethoven-arne

Beethoven and Thomas Arne (a lithography caricature after Francesco Bartolozzi)

7 Variations on ‘God save the King’ WoO78 for two pianos (1799-1803, Beethoven aged 32)

Dedication George Thomson
Duration 5’30”

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What’s the theme like?

The theme is one of the best-known tunes in the British Isles today. Rule, Britannia! was written by James Thomson in 1740, and set to music by Thomas Arne the same year. It first appeared in Arne’s opera Alfred, but went on to gain its standing as one of Britain’s most patriotic songs through frequent performance at the Last Night of the Proms:

Background and Critical Reception

This is the second of two British national tunes taken up by Beethoven after an approach from George Thomson in 1803. Towards the end of the year Beethoven sent him the variations on God Save The King and this smaller set of five, taking its lead from Thomas Arne’s famous tune.

Angela Hewitt writes how the variations, ‘besides being a humorous offering from the composer, are also a great piece on which to work, and demand careful preparation’. After presenting such a rousing theme, Beethoven surprisingly gives us some rumbling in the bass (maybe a nod to the navy—it sort of sounds like being underwater), though we come out of it eventually. Variation 2 has a lovely lyrical, syncopated line, while variation 3 has typical Beethoven fingerwork. The fourth variation goes into an angry B minor and gives us the theme in recognizable form, again with those bass rumblings. Things lighten up for the last variation, onto which he tacks a very amusing coda. I hope your first reaction at the end will be to laugh!’

Thoughts

Once again Beethoven’s sense of humour comes to the fore in this variations set. It takes a little longer, however, for as the Rule, Britannia theme is presented the mood is chaste and respectful. The first variation does indeed sound mysterious, and the lilting second continues the watery association, a kind of barcarolle.

For the third variation the mood is busy and energetic, then the fourth puts on a stern countenance and heads for the lower reaches of the piano again. The slip back to D major from the darker B minor is effortlessly done – at which point the music races away to a sparkling fifth variation and impudent coda. Once again, beautifully and amusingly done!

Recordings used and Spotify playlist

Cécile Ousset (Eloquence)
Rudolf Buchbinder (Teldec)
Ronald Brautigam (BIS)
John Ogdon (EMI)
Olli Mustonen (Decca)
Angela Hewitt (Hyperion)

The variations give a rousing finish to Angela Hewitt’s superb new disc of Beethoven variations on Hyperion, with the first variation appropriately strange as it plumbs the murky depths of the piano. Ousset is typically classy with her account, while Ronald Brautigam is very much outdoors in the full spray of the waves. His third variation in particular is a treat.

You can listen to an excerpt from the recording by Angela Hewitt, released in 2021, on the Hyperion website

Also written in 1803 Krommer Oboe Concerto in F major Op.37

Next up Serenade for piano and flute in D major Op.41