Tag Archives: Ludwig van Beethoven

Listening to Beethoven #2 – Schilderung eines Mädchens

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This Peanuts strip was first published on December 16, 1977, drawn by Charles M. Schulz (c)PNTS

Schilderung eines Mädchens WoO 107 (“Schildern, willst du Freund, soll ich dir Elisen?”) for voice and piano (1783, Beethoven aged 12)

Dedication not known
Text Unattributed
Duration 0’35

Listen

Background and Critical Reception

In his landmark biography of Beethoven, Alexander Thayer tells of how, by the age of 12, he was the ‘cembalist in the orchestra’. This was an important position within the Bonn Court orchestra for keyboard – presumably harpsichord rather than fortepiano – from which Beethoven would conduct the orchestra in rehearsals, filling a gap while the Electoral Kapellmeister was absent on a journey ‘of several months’.

The suggestion is that in this position lies the root of Beethoven’s powerful music, where he had to play up in volume to make himself heard. It gave him little time for composition, however, until the Kapellmeister returned – whereupon this short song was written and printed.

Thoughts

The first of many brief forays into song for Beethoven, Schilderung eines Mädchens (loosely translated as Portrayal of a Maiden) is almost over before it begins. It has a relatively high line, and a bold and bright melody. The young composer may be just getting a feel for how the voice behaves, but his instincts already appear to be sound.

Recordings used

Dietrich Fischer-Dieskau (baritone) and Jörg Demus (piano)
Peter Schreier (tenor) and Walter Olbertz (piano)
Hermann Prey (baritone) and Leonard Hokanson (piano)

All three recordings are in a different key. Dietrich Fischer-Dieskau is full-bodied in E major, but tenor Peter Schreier raises the tonality up to G with a brightly voiced account. Hermann Prey‘s account is very much slower (almost twice as long!). Luxurious in tone, it is beautifully sung but really stretches the words out. Leonard Hokanson shadows his every move.

Spotify links

Dietrich Fischer-Dieskau and Jörg Demus:

Peter Schreier and Walter Olbertz:

Hermann Prey and Leonard Hokanson:

 

Also written in 1783 Mozart Duos for violin and viola, K423 & K424

Next up Fugue in D major

Listening to Beethoven #1 – 9 Variations on a March by Dressler

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Ernst Dressler (left) and the young Ludwig van Beethoven

9 Variations on a March by Dressler WoO 63 for piano (1782, Beethoven aged 12)

Dedication not known
Duration 7′ (13’30 with repeats included)

Listen

What’s the theme like?

Dressler’s theme is serious in tone, and foursquare. The march is a slow one but it gives plenty of room for the young composer to work with his source material.

Background and Critical Reception

Beethoven’s first published work was released into the public domain when the composer was barely 12 years old. Its release was accompanied with a glowing reference from his teacher at the time, Christian Neefe. Jan Swafford takes up the story in his recent Beethoven biographer. ‘He plays the clavier very skillfully and with power, reads at sight very well, and…plays chiefly The Well Tempered Clavier of Sebastian Bach…He (Beethoven) has had nine variations for the pianoforte engraved in Mannheim. This youthful genius…would surely become a second Wolfgang Amadeus Mozart were he to continue as he has begun.’

The variation form was a good way of exercising students; seeing how inventive they could be when given a theme as a starting point. Talking with Arcana about the Dressler variations, pianist Cyprien Katsaris notes how “this piece is variations by a kid, and it could be considered in the beginning a little bit boring. His teacher probably told him to keep the same tempo, but I think there is a probability that if Beethoven played that piece as an adult he would play it in a different way to when he was under the guidance of that teacher. What a pity we didn’t have recordings earlier!”

Barry Cooper‘s booklet note for DG’s New Complete Edition of Beethoven notes how variations of the time were usually in a major key, and the adoption of C minor ‘feels like something of a statement’. It is a key we will traverse many more times as Beethoven’s portfolio unfolds. Swafford interprets the choice of C minor and its serious material ‘might form a memorial for the boy’s recently passed, still-lamented teacher and friend Franz Georg Rovantini‘, and that the final variation is a ‘triumph over sorrow’.

Thoughts

The young Beethoven takes the relatively basic Dressler theme and works nine variations from it, beginning in serious mood but gradually loosening his approach to explore different techniques.

For eight of the nine variations we keep the darker colour of the minor key, staying true to the mood of the theme but gradually adding more to it, with a few grace notes (variation 1), relatively polite sequential figures (2), then extra arpeggios in the middle parts (3), and chromatic inflections in the right hand (4). The fifth variation is more playful.

The sense of a composer running with greater freedom is clear, as the fifth variation is really let off the leash, the right hand roaming as it wishes. Variation six exchanges trills and more playful melodies between the two hands, while the seventh is in lilting triple time. The eighth feels like music we have heard already, with flowing arpeggios. Until now all variations have remained in the minor key, but this heightens the moment Beethoven switches to the major for the last variation, a terrific flurry of notes for the right hand which show off his technical prowess. Not many 12-year-olds could play music like this!

Recordings used

Cécile Ousset (Eloquence), Mikhail Pletnev (DG); Cyprien Katsaris (Piano 21)

Cécile Ousset includes all of Beethoven’s repeat markings, so each half of each variation is repeated, the piece extended to 13 minutes. Hers is a gracious account, brilliantly executed at the end.
Pletnev is very straight-faced initially, and plays around with the tempo a good deal, but goes for broke at the end to make the final variation sound like a piece of C.P.E. Bach.
Katsaris, including revised material by Beethoven, is in a room with a good deal of reverberation, heightening the serious theme and quite deliberate initially – but with terrific excitement generated in the fifth and final variations.

Spotify links

Mikhail Pletnev

Cécile Ousset

Cyprien Katsaris

 

Also written in 1782 Haydn Symphony no.73 in D major ‘La Chasse’

Next up Schilderung eines Mädchens

You can read Cyprien Katsaris’ full interview about Beethoven with Arcana soon.

2020 Beethoven – Firing the starting gun

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PEANUTS (c) United Feature Syndicate Inc. Drawn by Charles M. Schulz

I’m ready – as I’ll ever be! – to start listening to Beethoven’s music from start to finish.

This is Arcana’s 2020 Beethoven project, where we are taking on the task of listening to everything the composer wrote that exists in recorded form. The object of the exercise has always been to explore the full output of one of my favourite composers, and to share it with you, the reader. It will continue to be that way, with the help of fellow listeners – such as you! – and musicians, too.

If you want to get involved, we’d love you to. All you need to do is send a message to editor@arcana.fm and I’ll send you a Beethoven piece to listen to. You can get to know it and let us know what you think.

I can’t help but feel a bit daunted by this task. So much has been written about Beethoven’s works in the past, more eloquently than I could hope to achieve here. So why another attempt at Everest? The reason is simple – because Beethoven is a favourite composer, a changer of the game in so many different forms of music. In these times especially there is more room than ever for the music that we love. Before we begin, then, here are a few thoughts and a bit of housekeeping for the curious.

The aim – as much as possible – is to listen to Beethoven’s compositions in the order in which they were composed. There is a good deal of confusion around this, as they were not always published in the same order – so there will be moments where we jump about between the numbers of Beethoven’s catalogue in an illogical order. I don’t want to get too bogged down in this area though!

There are also works, such as the Piano Concerto no.2, that Beethoven composed over a number of years. In this case it was between 1788 and 1801 – so we’ll pick it up in 1801, the year it was published.

There are so many available versions of some of Beethoven’s works that we cannot possibly cover them all in this sitting. I will try however to include old and new, modern instruments and ‘historical’ – that is, the instruments and especially pianos that Beethoven might have been more familiar with. We will enjoy a few sidewalks, too – such as Liszt’s transcriptions of the nine symphonies, and a few pop songs based on Beethoven’s music.

There will also – we hope! – be time to appraise Beethoven’s colleagues and contemporaries too – less familiar names like Cramer, Ries, Spohr and Czerny deserve their moments in the sun, as do some of the better-known composers such as Hummel and Weber. This is all to try and give a flavour of the musical climate of the time.

Speaking of climate, some of the pictures used will reflect artists of the time such as Caspar Friedrich – and there will be room to explore the Beethoven cartoons of Charles M. Schulz as well as paintings from Andy Warhol and Gustav Klimt.

This week we will start with the 9 Variations on a March by Dressler for piano, completed by the young composer before his teens in 1782. It will be the start of quite a voyage of discovery!

Ben Hogwood editor, Arcana

RSNO Friday Night Club – Beethoven’s Choral Symphony

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The RSNO’s Friday Night Club is proving to be a popular series – and tonight’s instalment looks set to provide just the tonic needed to start the weekend. Conducted by Peter Oundjian, the orchestra return to Beethoven in a concert given at their home venue, the Glasgow Royal Concert Hall, in 2016.

The vocal soloists are soprano Marita Sølberg, mezzo-soprano Renata Pokupić, tenor Ben Johnson and bass-baritone Stephan Loges, with the RSNO Chorus joining for the exultant choral finale.

You can watch the on the orchestra’s website here, or join on Facebook here

Routes to Beethoven – 1770: Music in the year of Beethoven’s birth

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by Ben Hogwood

Picture: Beethoven’s parents, Johann van Beethoven and Maria Magdalena Keverich

The last listening exercise before diving into the music of Beethoven is to explore the music being made in the year of his birth, to try and get an idea of the temperature in Western classical music.

For Mozart, opera was key – even at the age of 14. His year began with a trip to Italy, organised by father Leopold with the aim of securing a big stage commission. That was duly achieved in Milan, at the flagship Teatro Regio Ducal (below). In December this prestigious venue became the setting for the premiere of Mozart’s first opera, Mitridate, re di Ponto. An ambitious three-act work, it has some eyecatching arias for the leading cast, virtuoso writing that established Mozart as a composer of real intent and secured a number of standing ovations at the premiere.

With the commission for Mitridate secured in January the Mozarts toured Italy for much of 1770, where Wolfgang found the time to take his symphonic canon into double figures. Don’t forget, he was still barely a teenager!

Haydn, meanwhile, an established composer in his late thirties, was beginning to flex his symphonic muscles. His Sturm und Drang period was just under way, and the innovations he would make in nearly every musical genre were beginning to take shape. 1770 was a relatively quiet year for his output, however. The symphony he completed, no.43 in E flat major, is known as the Mercure for no obvious reason. It is perhaps a more ‘polite’ piece than the minor key examples around it, but that should not be seen as a derogatory observation – it has the typical Haydn poise, guile and wit.

In London, Johann Christian Bach (Bach’s eleventh and youngest son) was impressing with his symphonies and piano concertos, and Hummel published a set of six as Op.6 in 1770. Daniel Heartz writes of how no.5 was a favourite with the public, to judge by the number of reprinting, but that the sixth in the series is impressive, with a ‘fiery middle movement’.

Meanwhile the fifth Bach son, Carl Philipp Emanuel, was adding to his enormous output too. Exact dates are harder to find for his works, though the first version of the Passion According to St Mark can definitely be said to have been completed in 1770.

Meanwhile Gluck, one of the most prominent operatic composers of the day, was occupied with the Viennese premiere of Paride ed Elena. When compared with his stage successes Orfeo ed Euridice or Iphigenie en Tauride, it has not performed well historically. Little is written about its premiere or reception, save for the relative lack of a convincing plot in the opera itself, but listening to it reveals some beautiful writing for soprano and castrato, and a Chaconne that becomes increasingly daring as it proceeds. It has been cited in a number of articles such as this one that Paride ed Elena marks a change in opera from singing to storytelling.

Elsewhere Boccherini was making a name as a prolific composer of works for strings, the most since Vivaldi – and secured for himself a prestigious role as cellist and composer to the royal court in Madrid. He would write more than 15 cello concertos and much chamber music besides.

What of the music of Bonn, where Beethoven was born in 1770? Well not much is known – or at least, not within easy reach in books or on the internet! It would be intriguing to know what was played at his baptism in St. Remigius on 17 December. Listen to the playlist below though and you will get an idea of the music circulating in what appears to have been a transitional year in European music. In many ways it was the calm before the storm.

Listen

The music of 1770 is collected in a Spotify playlist below: