Category Archives: 2020 Beethoven

Listening to Beethoven #221 – An die Hoffnung Op.32

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

An die Hoffnung Op.32 for voice and piano (1805, Beethoven aged 34)

Dedication Countess Josephine von Brunsvik
Text Christoph August Tiedge

Duration 4’00”

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by Ben Hogwood

Background and Critical Reception

Christoph August Tiedge’s lied An die Hoffnung had a profound effect on Beethoven, who set the text on two separate occasions – once published as Op.94 in 1816, but firstly published as Op.32 eleven years prior. Its dedication to Countess Josephine von Brunsvik is significant, for she was an unrequited love interest for the composer early in 1805. In March she wrote to her mother, “The good Beethoven has composed a lovely song for me on a text from Urania ‘An die Hoffnung’ as a gift for me”

By the summer feelings on both sides had cooled somewhat, with Beethoven removing Josephine as its dedicatee. Susan Youens, in booklet notes written for a collection of Beethoven lieder on Signum Classics, describes how the song’s ‘major mode optimism is rendered profound by darker touches of minor. The singer’s eloquent leap upward and the quiet blaze of a new (major) key for the acclamation to Hope – “O Hoffnung” – are unforgettable’.

Thoughts

This does indeed appear to be one of Beethoven’s most heartfelt utterances in the medium of singer and piano. It helps that the range of the song falls neatly within the grasp of either a baritone or tenor range, making it available for almost all male voice types.

Yet it is the elegance of the piano with which Beethoven begins, an unspoken melody spinning out with heartfelt ease. When the singer enters the mood is solemn yet rays of light are frequently shed by the piano harmonies as the music turns back to the major key.

The song makes a profound impact, both singer and pianist under the spell of Tiedge’s poetry, right up to the final line – and a final serene thought from the piano. We are in the calm of E flat major, same key as the Eroica symphony, but what a different mood we have here – vulnerability instead of heroism.

Recordings used

Werner Güra (tenor), Christoph Berner (fortepiano) (Harmonia Mundi)
Matthias Goerne (baritone), Jan Lisiecki (piano) (Deutsche Grammophon)
Ian Partridge (tenor), Richard Burnett (fortepiano) (Amon Ra)
Dietrich Fischer-Dieskau (baritone), Jörg Demus (piano) (Deutsche Grammophon)
John Mark Ainsley (tenor), Iain Burnside (piano) (Signum Classics)
Hermann Prey (baritone), Leonard Hokanson (piano) (Capriccio)

Fischer-Dieskau benefits from a heavenly introduction from pianist Jörg Demus, who sets the tone for an intense and often visionary account. The two recordings with fortepiano are quite different – Werner Güra and Christoph Berner pressing on a quite a rate when compared with Ian Partidge and Richard Burnett.

Also written in 1805 Spohr String Quartet no.2 in G minor Op.4/2

Next up Leonore

Listening to Beethoven #220 – Symphony no.2 in D major Op.36 (arranged for piano trio)

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The Longing for Happiness. Left wall, detail from the Beethoven-Frieze (1902) by Gustav Klimt

Symphony no.2 in D major Op.36 for orchestra (1800-1802), arranged for piano trio 1805 (Beethoven aged 34)

Dedication unknown
Duration 30′

1. Adagio molto – Allegro con brio
2. Larghetto
3. Scherzo: Allegro
4. Allegro molto

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Background and Critical Reception

Beethoven’s friend and pupil Ferdinand Ries took charge of this arrangement of the Symphony no.2 for piano trio – but the very limited writings about the arrangement strongly imply that the final decisions on its construction and execution were made by Beethoven himself.

The reason for this arrangement is not abundantly clear, other than it making the symphony available for domestic, small-scale music making. Yet the nature of the scoring would mean only very accomplished players could see it through from one end to the other!

Thoughts

This is a remarkable and surprisingly effective transcription, one that fully retains the vitality of Beethoven’s invention while compressing it for the intimacy of a chamber music environment.

Inevitably the textures are very different, but having less instruments does on occasion give the listener opportunity to appreciate the bare bones of Beethoven’s melodic invention.

Spotify playlist and Recordings used

Robert Levin (piano), Peter Hanson (violin), David Watkin (cello) (Archiv Produktion)

Emanuel Ax (piano), Leonidas Kavakos (violin), Yo-Yo Ma (cello)

This is a very fine performance from pianist Robert Levin and soloists drawn from the Orchestre Révolutionnaire et Romantique. The fast music is punchy and incisive, while the slower music has more intimate moments, beautifully captured.

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 1805 Spohr String Quartet no.1 in C major Op.4/1

Next up An die Hoffnung Op.32

Listening to Beethoven #219 – Variations on Ich bin der Schneider Kakadu Op.121a

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Beethoven and the Austrian composer Wenzel Müller, who wrote the initial theme on which the ‘Kakadu’ variations are based

Variations on Ich bin der Schneider Kakadu Op.121a for piano trio (1803, revised 1819-20. Beethoven aged 33 at time of composition)

Dedication Prince Nikolas Borissovich Galitzin

Duration 19′

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by Ben Hogwood

Background and Critical Reception

The reference material I have been using for the Beethoven project has the Kakadu variations with a completion date of 1803 – though there are another tranche of dates to take into account. The first autograph score appeared in 1816 after what appears to have been a number of revisions, giving an indication of how Beethoven regarded the material. The opus number 121 confirms a much later publication date of 1824, closely followed by the Choral symphony.

Lewis Lockwood suspects that a number of revisions may even have been made as late as this, particularly the striking introduction with which the work begins. The theme, however, is taken from an opera by the Austrian composer Wenzel Müller. Completed in 1794, the comedy Die Schwestern von Prag (‘The sisters from Prague’)  contains the aria I am Kakadu the tailor, whose main theme is lifted by Beethoven for this piece. Following a large introduction are 11 variations on the theme.

Thoughts

This is a substantial piece of work, especially with a full bodied introduction added to the front. In truth this introduction gives the Kakadu variations something of a Baroque profile, giving it a stern, slow minor key introduction, very much a ‘Grave’. It builds in tension, too, with some pretty sparse material that lasts over a third of the piece, and is drawn out for maximum dramatic impact.

Once the theme finally arrives it is something of a light relief, with quite a jaunty profile as the piano and staccato strings set out the simple tune. A feeling of contentment prevails, and this spreads to a flowing first variation and a second variation with light hearted triplets on the violin.

The cello takes over melodic duties for a warm third variation, and the interplay becomes more dense – a sparkling fourth and more intimate fifth attest. The sixth opens the hatches with octaves on the piano, before a thoughtful seventh brings violin and cello alone, the former sweetly sung. The piano’s return is initially quite restrained, the ninth variation a hark back to the solemn introduction and a pause for thought. For the tenth it is as though the trio have saddled a horse and ridden off at speed. The last variation and finale is a wholly suitable summing up, bringing the work to a bracing conclusion.

Spotify playlist and Recordings used

Beaux Arts Trio (Philips Classics)
Daniel Barenboim (piano), Pinchas Zukerman (violin), Jacqueline du Pré (cello) (EMI)
Rudolf Serkin (piano), Yuzuko Horigome (violin), Peter Wiley (cello) (Sony Classical)
Florestan Piano Trio (Hyperion)
Stuttgart Piano Trio (SWR)

There are some heavyweight trio combinations who have taken on the Kakadu variations. Among them are the superstar trio of Daniel Barenboim, Pinchas Zukerman and Jacqueline du Pre, whose high voltage version is a memorable encounter. As enjoyable are the versions from the Beaux Arts Trio, the Stuttgart Trio, and Rudolf Serkin leading the Marlboro Music Society.

The below playlist contains those these recordings, while you can click here for clips from the Florestan Trio account

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 Sextet in E major Op.15

Next up tbc

Listening to Beethoven #218 – Gedenke mein! WoO130

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Gedenke mein! WoO130 for voice and piano (1804-5, revised 1819-20. Beethoven aged 33 at time of composition)

Dedication Prince Nikolas Borissovich Galitzin

Text Anonymous
Duration 1’30”

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by Ben Hogwood

Background and Critical Reception

Thoughts

This song has quite a gentle, hymn-like profile – especially when the harmonies. The voice and piano move together, step by step, with a nostalgic tone, until what can only be a regretful closing statement.

Spotify playlist and Recordings used

A seldom-recorded song – but when you have versions from the great baritone Dietrich Fischer-Dieskau and tenor Peter Schreier the song is still amply covered.

The below playlist contains those two recordings:

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 1805 Wölfl Piano Sonata in C minor Op.25

Next up Variations for piano trio on ‘Ich bin der Schneider Kakadu’ Op.121a

Listening to Beethoven #217 – Bagatelle in C minor, WoO 52

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Commemorative medal for Ludwig van Beethoven – Bronze medal from the Hungarian Ministry of Culture based on a design by József Reményi (picture courtesy of the Beethovenhaus, Bonn)

Bagatelle in C minor WoO 52 for piano (c1795-7, Beethoven aged 24-6)

Dedication not known
Duration 3’45”

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written by Ben Hogwood

Background and Critical Reception

A bagatelle that slipped through the net on Arcana’s Beethoven voyage! This one, which appears to have been finished between 1795 and 1797, is one of a series of such works completed in C minor. It was seemingly on the shortlist to be picked for the set of bagatelles Beethoven published as Op.119 in 1823.

Misha Donat, writing in his notes for the recording by Steven Osborne on Hyperion, suggests the movement was intended for inclusion as part of the Piano Sonata no.5 in C minor Op.10/1, but ‘discarded the scherzo-like piece because its tempo was too similar to that of the finale’. The piece was first published in 1888.

Thoughts

It is easy to see how this piece could be an out-take from the C minor sonata. It has the profile of a scherzo, with a repeated note motif that isn’t too dissimilar to that used in the forthcoming Symphony no.5. Although this ‘riff’ starts in the left hand it transfers to the right as well, and Beethoven enjoys playing with the syncopations it generates.

As a ‘trio’ section Beethoven moves into the major key, with a lighter touch and a warmer outlook to the music. It doesn’t last long, however – and we return to the dogged C minor material for a convincing finish.

Not exactly an easy Bagatelle to play, and much more a sonata fragment – but typically well constructed and memorable in its material.

Recordings used and Spotify playlist

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

Ronald Brautigam provides plenty of energy on his account, and there are tasteful versions from the other three pianists on the list – as well as Steven Osborne on Hyperion.

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 1797 Eberl 2 Sonatas for Keyboard four hands, Op.7

Next up Gedenke mein!, WoO 130