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

Online Concert: Christian Poltéra & Kathryn Stott @ Wigmore Hall – Prokofiev & Chopin

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Christian Poltéra (cello, above), Kathryn Stott (piano, below)

Prokofiev Cello Sonata in C major Op.119 (1949)
Chopin Cello Sonata in G minor Op.65 (1845-6)

Wigmore Hall, Monday 13 February 1pm

by Ben Hogwood

Christian Poltéra and Kathryn Stott are a long-established duo who have provided us with a richly rewarding discography including works by Fauré, Saint-Saëns, Barber and Schumann. Their encounters with Russian music appear to have been less frequent to date, and it was good to hear their poised account of one of the form’s most popular works. Ukrainian-born Prokofiev wrote his sonata, a late work, for Mstislav Rostropovich, who had impressed him with his larger than life playing. It is the first of a late burst of works for the instrument, including the Sinfonia Concertante, Solo Cello Sonata and Concertino.

Poltéra began the sonata with a solemn intonation on the lowest register of the cello, emphasising the ‘grave’ aspect of Prokofiev’s tempo marking rather than going for an epic sound. This thoughtful approach bore fruit in the slower sections, and with Stott an attentive partner there was plenty to enjoy in Prokofiev’s baleful writing, and impressive clarity in the more expansive passages.

The second movement danced attractively, tapping into Prokofiev’s ballet credentials, with some enjoyable exchanges between the two, if not always making the most of the composer’s frequently humourous asides. The third movement sang out more, Poltéra projecting further without losing any of his admirable control or intonation, and Stott getting to the heart of Prokofiev’s combination of percussive cut and thrust and soft-centred lyricism.

Chopin’s Cello Sonata came as something of a surprise to his fellow composers in the mid-1840s. Written for the French cellist Auguste Franchomme, it is a substantial work, which unsurprisingly asks a great deal of the pianist in a full-bodied, almost orchestral role.

Poltéra it was who led the first movement most impressively, with a consistently attractive sound singing subtly but meaningfully. Technically he is a superb cellist, with tone unflinching, but praise should be levelled at Stott’s ability to bring beautiful phrasing to even the most congested piano writing. The searching legato theme in the second movement was a case in point for the cellist, beautifully played with flowing piano figures. The lovelorn third movement was tinged with sadness, finishing lost in thought. The last movement showed determination to break from this soul searching, looking outward as it powered through to a major key finish.

This was an excellent performance, ideally balanced and capturing the right balance of regret and resolve – and was balanced by the encore, Saint-Saëns’ Romance in F major Op.42. A Monday lunchtime treat.

For more livestreamed concerts from the Wigmore Hall, click here

Switched On – теплота – Skynned (Accidental Meetings)

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by Ben Hogwood

What’s the story?

теплота is the London-based duo of Grundik Kasyansky & Tom Wheatley. In their biography they are described as ‘half techno, half free jazz’ – and goes into a bit more detail on how they use ‘feedback synthesizer and computer-acoustic bass’, and ‘fuse a spontaneous interplay orthogonally over cyclical structures, with techno as perpetual fulcrum’.

What’s the music like?

A coiled spring – Skynned has a good deal of energy, but often keeps it confined in tight musical spaces. Often it feels like the musical equivalent of a lithograph drawing in musical form, darkly shaded and executed.

First track Isolator is fidgety, beset by repetitive and glitchy noises, while Motus Haru has a more regular profile. The track Cycle appears in two versions – the first nervy, and a bit unsettled, showing its mechanical workings, while the second carries more dramatic weight. Sling strains at the edges, a treble line trying to break free but ultimately constricted, while there are brief snatches of woozy fairground rides that drift into view in the intriguing and distracted visions of Yagi. Apical, a substantial track, sends transmission codes through bass drum and monotone treble.

Does it all work?

It does – though the moody soundscapes and glitchy musical figures make for claustrophobic listening at times.

Is it recommended?

It is. There are some imaginative and detailed sound pictures here, often presented in the form of fever dreams. Occasionally unsettling, but always intriguing.

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Let’s Dance – Various Artists – Sven Väth: What I Used To Play (Cocoon Recordings)

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Reviewed by Ben Hogwood

What’s the story?

This is a proper labour of love from Cocoon Recordings, in honour of the rich musical heritage of their leader and founder Sven Väth. It is, in effect, a 36-track autobiography telling not just the story of his early DJing career through the 1980s, but a compendium of important electronic music released in that time.

Väth started the mammoth project during lockdown, a response to being unable to attend any parties or club nights of his own. Inevitably he started looking back at past successes and good times, and the idea of a full bodied compilation was born.

For vinyl afficionados, the collection is released on a set containing a dozen individually coloured 12” records, with full size portraits of Sven and each embossed with silver hot foil. There is also a triple CD release.

What’s the music like?

To say there are some classics in here would be an understatement, for the tracklisting is packed with electronic musical royalty. Kraftwerk’s Computerwelt, New Order’s Blue Monday, Frankie Knuckles and Jamie Principle in Your Love and the Andy Weatherall mix of Primal Scream’s Loaded are just four of the heavyweights here.

Most listeners will surely own these and not need them again, so the real interest comes when you dig deeper into the collection. Here you find uplifting anthems such as Hugh Masekela’s Don’t Go Lose It Baby, the self-titled Balearic classic from Sueño Latino, the early landmark Break 4 Love from Raze and Model 500’s No UFOs.

A Split create a real buzz with Second – Flesh, while Anne Clark’s Our Darkness is a thrill. Bobby Konders’ Nervous Acid works wonders with squiggly synthesizer lines, while one of the Afrobeat highlights is Le Serpent, from Guem Et Zaka Percussion. Logic System’s Unit starts the compilation, while Väth’s own collaborative effort 16 Bit gets a very welcome runout with Where Are You?

Does it all work?

It does – a thrilling documentary of some era-defining music. Whether or not the package itself is desirable will depend on the depth of peoples’ wallets, for the 12” box will set you back a cool €200.

Is it recommended?

Yes, enthusiastically – few history lessons are as enjoyable as this! Musically it is a no-brainer, but financial constraints may dictate otherwise.

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You can explore purchase options via Sven Väth’s Bandcamp site, while you can hear musical clips on the Juno website

On Record – Leland Whitty: Anyhow (Innovative Leisure)

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by Ben Hogwood

What’s the story?

Leland Whitty is a multi-instrumentalist, a member of the BADBADNOTGOOD group from Toronto – in which he normally plays saxophone and guitar. In true jazz fashion, however, his talents appear to be completely unrestricted, for on this record alone he provides composition, production and contributions on guitar, keyboards, various woodwind, percussion and strings.

Work on Anyhow began in 2020, with Whitty following a course influenced by cinema and photography. Two of his bandmates, Alexander Sowinski (drums) and Chester Hansen (bass) are guests on the album.

What’s the music like?

Anyhow has been out for a while, since December 2022 to be exact – but it has cropped up in Arcana’s listening patterns for the last few weeks and definitely deserves a review of its own!

It is a highly attractive and pictorial album, from the dappled textures and languid loops that dress Svalbard to the saxophone climbing towards the higher reaches towards the end of the title track.

In between there is much to enjoy. The expansive Glass Moon has a descriptive saxophone commentary, while Awake is actually pretty hazy, with sighing strings and a nicely jumbled keyboard solo. Windows takes time out for reflection (pun intended!), basking in some attractive textures, before the saxophone takes an assertive lead. Meanwhile Silver Rain has strong hints of Debussy in its melody.

Does it all work?

Yes. Whitty has a keen ear for orchestration, and allows free improvisation without ever tipping over into indulgence.

Is it recommended?

It is, heartily. Leland Whitty’s work marks him out as a descriptive and emotive composer, who says a great deal in shorter musical sentences. Attractively clothed, this is an album to savour.

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