Tag Archives: Ludwig van Beethoven

Listening to Beethoven #192 – 6 Ländler WoO 15 (version for two violins and bass)

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Wilhelm_Gause_Hofball_in_WienTwo ladies are presented to Emperor Franz Joseph at a ball in the Hofburg Imperial Palace, painting by Wilhelm Gause (1900)

6 Ländler WoO 15 for two violins and bass (1802, Beethoven aged 31)

Dedication unknown
Duration 6′

written by Ben Hogwood

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Background and Critical Reception

As we know from earlier examples, Beethoven often turned to the Ländler, a folk dance in 3/4 time, as a way of helping entertain his Viennese clientele. He was able to score them for different instrumental combinations, presumably in response to the circumstances of the entertainers. This set is originally for two violins and a bass instrument – but as with many of these dances was also reworked into a piano version.

Thoughts

D major was Beethoven’s ‘go-to’ key for Ländler – and five of the six examples in this small set are in that key. The only exception is no.4 in D minor, which works well as a ‘trio’ section if all six are played back to back. It is a frown in comparison to the other five, which are carefree examples of Beethoven fulfilling a function with ease.

The first is bright, and light on its feet, the fifth has an attractive flourish but feels half-finished. Typically the sixth and final dance, a simple arpeggiated affair, signs off with a coda.

Recordings used and Spotify links

Tristan Siegel, Noa Sarid (violins), Aleck Belcher (double bass) (Naxos)
Lukas Hagen, Rainer Schmidt (violins), Alois Posch (double bass) (Deutsche Grammophon)
Consortium Classicum (Warner Classics)

Some attractive versions – including an account for small string ensemble, nicely played by Consortium Classicum.

Also written in 1802 Förster 3 String Quartets Op.21

Next up 6 Ländler for piano WoO 15 (1802)

Listening to Beethoven #191 – Bagatelle in C major WoO 54, ‘Lustig-Traurig’

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Beethoven-Medaille, 1927

Bagatelle in C major WoO 54, ‘Lustig-Traurig’ for piano (1802, Beethoven aged 31)

Dedication not known
Duration 2′

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written by Ben Hogwood

Background and Critical Reception

Around his major compositions we will continue to find Beethoven’s miniatures. This piece, whose nickname translates as ‘happy-sad’, is thought by some to have originated in 1798 – and appears to have just missed out on inclusion in the Op.33 set published earlier in the year.

Perhaps because of its size, this piece is glossed over by Beethoven commentators in favour of its more substantial companions. It appears to have been written for pianists of moderate ability, as with many of the bagatelles.

Thoughts

The happy-sad elements of this bagatelle are all told through harmony. This short character piece follows the profile of its title – switching mood between happy (C major) and sad (C minor). It’s a little doubtful if the C minor is actually sad, as it sounds more agitated, and the C major sounds happy in a slightly wary way we might associate more with Schubert.

Yet here is an aspect of Beethoven’s genius, the ability to write for all levels – be it the advanced player or the occasional one – and leave each a memorable work, a catchy tune, an enjoyable piece to return to.

Recordings used and Spotify playlist

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

Three very different recordings. Olli Mustonen always has an individual take and this longer, stretched version is no exception. Brautigam is brisk, and Jandó nicely measured.

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 #190 – “Ne’ giorni tuoi felici”, WoO 93

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Portrait of Pietro Metastasio, c1770, by Meytens or Batoni

“Ne’ giorni tuoi felici”, WoO 93, duet for soprano, tenor and orchestra (1802, Beethoven aged 31)

Dedication Not known
Text Pietro Metastasio
Duration 7′

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Background and Critical Reception

Ne’ giorni tuoi felici (‘In your days of happiness’) uses text from Metastasio’s L’Olimpiade, with Beethoven becoming the third recorded composer to set these words behind Leonardo Leo and Florian Gassmann. Writing briefly about the duet in booklet notes for Hyperion, Nicholas Marston notes that two of the soloists at the premiere, which appears not to have taken place until 1814, were Anna Milder-Hauptmann and Carl Weinmüller. They helped create the roles of Leonore and Rocco respectively in the premiere of Fidelio later that year.

Very little is written about this piece, other than to note its position in Beethoven’s output as one of the last vocal works written under the tuition of Salieri.

Thoughts

We hear the tenor first, pleading, ‘in the days of your happiness remember me’ – and his lover, the soprano, answers in kind. Initially the mood is relatively calm, but as the duet progresses things become more agitated. The singers’ lines are deeply expressive, and initially slower that has perhaps been the norm in Beethoven’s vocal music with orchestra so far. The composer gives the voices plenty of room, the orchestra at a polite distance, but the violins have important counter melodies to contribute.

A quicker section arrives just over half way through, the singers ‘dying of jealousy’ as they experience considerable distress, not to mention ‘savage pain’. This sours the mood and tugs at the heartstrings, ending the duet on a fractious note. At this point it feels unfinished, with more of the story to play out – as though Beethoven could have continued to write a more expansive piece using Metastasio’s text.

The soprano writing often hits the heights, but in a way less concerned with overt display and more with lyrical passion. She leads the duet, which makes a powerful impression – and gives notice that Beethoven’s dramatic gifts will be more than capable of shifting to the operatic stage before too long.

Recordings used

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

Christopher Maltman (tenor), Janice Watson (soprano), English Chamber Orchestra / Matthew Best (Hyperion) (an excerpt can be heard here)

Arthur Apelt (tenor), Hannelore Kuhse (soprano), Staatskapelle Berlin / Eberhard Büchner (Eterna)

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 Charles-Simon Catel Sémiramis

Next up Bagatelle in C major / minor ‘Lustig-traurig’

Listening to Beethoven #189 – “No, non turbarti”, WoO 92a

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Portrait of Pietro Metastasio, artist unknown

“No, non turbarti”, WoO 92a, scene and aria for soprano and strings (1802, Beethoven aged 31)

1. Scena: No, non turbarti’…
2. Aria: Ma tu tremi, o mio tesoro

Dedication Not known
Text Pietro Metastasio
Duration 6′

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Background and Critical Reception

This scena and aria, setting text from Metastasio’s La tempesta, is for soprano and strings, and marks one of the final pieces of work completed by Beethoven when still under the tuition of Salieri.

The autograph manuscript has corrections from his teacher, from whom Beethoven had been learning vocal composition, pointing his efforts towards the stage. Andrew Stewart, notes that Beethoven did not completely finish the orchestration, and that the premiere of this relatively short piece did not take place until 1814 – by which time he had completed his opera Fidelio.

Soprano Chen Reiss, writing about the piece for her recent album Immortal Beloved, observes that the aria seems ‘to predict the misfortunes in love he was to experience later in life’. Using the manuscript, she restored the music to predate Salieri’s ‘corrections’, offering a more authentic account of the composer’s intentions.

Thoughts

A sad stillness inhabits the start of the recitative, but soon the music becomes agitated. When the text observes, “See how the entire sky now blackens; the wind stirs up the dust and the fallen leaves”, Beethoven takes his cue with a rush of strings, their tremolo figuration portraying the restless storm.

The aria itself feels higher in register, with a greater distance between the singer and the strings as a form of solace in pure C major. The poet, however, is after a little more, and as Ian Page says, ‘pursues more amorous intentions’. “When there’s thunder and lightning I shall be with you”, consoles the text – and this music, appearing to indulge Beethoven’s love of Handel, does likewise.

Spotify playlist and Recordings used

Sophie Bevan, The Mozartists / Ian Page (Signum Classics)
Chen Reiss, Academy of Ancient Music / Richard Egarr (Onyx)
Reetta Haavisto, Turku Philharmonic Orchestra / Leif Segerstam (Naxos)

Three excellent performances here, but those from Sophie Bevan and in particular Chen Reiss are to be heard again. The latter has a slightly fuller voice, especially lower in the register. Both are accompanied by instruments of the period and conductors using harpsichord – which perhaps brings out the Handelian connections. Reetta Haavisto gives a powerful interpretation, and together with Leif Segerstam takes a more expansive view of the pair, clocking in at nearly seven minutes in comparison to Bevan’s five.

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 1802 Charles-Simon Catel: Sémiramis

Next up Ne’ giorni tuoi felici, WoO 93

Writer appreciation: Daniel Heartz

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written by Ben Hogwood

This is the first in an occasional series of posts where I would like to draw attention to writers on music, classical or pop, whose work I love and respect.

Yesterday Arcana’s Listening to Beethoven series reached the Second Symphony – the last work discussed by Daniel Heartz in the third volume of an epic series looking at music of the 18th century.

I wanted to draw attention to Daniel’s writing because this series of books is quite simply invaluable. When I first considered purchasing it I baulked at the price per instalment (roughly £45, even at second hand) but I can honestly say it has provided me with incredible value for money.

Heartz’s strengths are many, but his ability to talk through technical aspects of music without losing the reader in jargon is unusually strong. However even that quality is second to his knack of placing the music in historical context, which he does so throughout the books. I warmed to this quality in the third volume (Haydn, Mozart and early Beethoven 1781-1802) just as much in the second (Haydn, Mozart and the Viennese School: 1740-1780). Going back further, the equally sizable volume of Music In European Capitals: The Galant Style, 1720-1780 ensures lesser-known and appreciated composers such as Boccherini, J.C. Bach and Stamitz get the detail and respect they fully deserve.

Heartz is great at telling a story, applying the same detailed and pictorial approach to each composer or historical figure, and at every turn it is clear that a remarkable depth of research has been applied to his work. There is very little speculation needed, but where it is made he is never fanciful or exaggerated.

Very sadly Professor Heartz died in 2019. I must admit, rather selfishly, that I was hoping his exploration of Beethoven would continue beyond the year 1802, but on learning the sad news I can only say I am very grateful to him for illuminating the classical period of music history with such high quality, informed writing. His books will give pleasure and more information, no doubt, for many years to come.

A tribute to Daniel can be found here on the University of California website. The three books referred to above are published by W.W. Norton.