Tag Archives: Ludwig van Beethoven

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′

Listen

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

Playlist – Sarah Beth Briggs

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It gives us great pleasure to welcome pianist Sarah Beth Briggs as a guest curator for the Arcana playlist.

Sarah releases her new album Variations on Friday 24 March, a collection of works in the form by Mozart, Beethoven, Mendelssohn and Brahms. It complements a discography for AVIE that already boasts The Austrian Connection and discs of works for piano solo by Schumann and Brahms, and piano trios by Gál and Shostakovich as part of the Briggs Piano Trio.

We asked her for a blend of her current listening and one piece inspired by the Variations album – and I think you’ll agree she has come up with something rather special in the form of Edmund Rubbra’s rare but strikingly original orchestration of Brahms’ Variations on a theme of Handel. Here it is in the only available current recording, conducted by Neeme Järvi:

As to her current listening, Sarah gives us a trio of very fine chamber works from the 19th century, Beethoven and Schubert to be precise, and the music of Hans Gál, finally emerging into the public consciousness – his very fine Cello Concerto:

We end with peerless jazz, the Oscar Peterson Trio and their wonderful Night Train

Our grateful thanks to Sarah – do have a listen on the Spotify link below:

Preview – Hastings International Piano Competition: Prize Winners’ Gala Concert

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If you live in London or the south of England and love the piano, then consider this: Did you know there is a fully-fledged, international piano competition right on your doorstep?

It is, of course, the Hastings International Piano Competition, hosting their Prize Winners’ Gala Concert at the White Rock Theatre in the town this Saturday 4 March. Performing at the concert, and accompanied by the Royal Philharmonic Orchestra under Rory Macdonald, will be two of the stars of last year’s competition. The winner, Japanese pianist Shunta Morimoto (above), will perform Beethoven’s Piano Concerto no.4, while third-placed Mariamna Sherling (below) will close the concert with Rachmaninov’s much-loved Rhapsody On A Theme of Paganini.

“It is a great honour for me to perform again on the historical stage of the White  Rock Theatre”, said Sherling. “The Royal Philharmonic Orchestra is absolutely incredible!  I was lucky to perform with this outstanding orchestra a year ago in the final of the Hastings International Piano Concerto Competition.  I can’t wait to collaborate with them again.”

Shunta, meanwhile, is similarly excited for his performance of the Beethoven. “It will be my greatest delight to bring to my performance with the Royal Philharmonic Orchestra all the beauties I have uncovered studying the 4th concerto of Beethoven. It will be my honour to share this with the public of my most beloved city in England.”

The Hastings International Piano Competition is under the authoritative guidance of Paul Hughes who moved to the role from his previous post as Director of the BBC Symphony Orchestra. The competition itself has its roots in the Hastings Music Festival, which dates all the way back to 1908 – and it evolved from the festival, growing at a startling rate. Last year’s competition, says Hughes, was its best yet. “Yes, very much so. We had a record number of applicants – 360 – and a truly international field.”

Morimoto’s winning concerto in the 2022 competition, says Hughes, “demonstrated his extraordinary musicality and the maturity of his playing, as well as meeting all the technical demands of that particular work. Beethoven’s Piano Concerto no.4 has parallels in that it requires a deep understanding of the music, exceptional phrasing and an appreciation of the architecture of the concerto; all qualities that Shunta has in abundance.”

The concerto will begin with Dvořák‘s effervescent Carnival Overture, while Tchaikovsky’s Romeo and Juliet Fantasy Overture opens the second half – a prelude to Sherling’s Rachmaninov. “Mariamna (above) is the possessor of a fabulous technique, a razor-sharp mind and a sense of fun”, says Hughes. “I am expecting she will employ all of this to demonstrate many facets of Rachmaninov’s set of variations.”

Hastings has a reputation of being ‘The Friendly Competition’, which Hughes attributes to “a combination of the efficient organisation of HIPCC combined with the warmth of the community whose hospitality in looking after and supporting the young pianists at every stage of their progress through the competition makes such a difference. It is also the friendliness and openness of the jury who share insights and give constructive feedback to the competitors.”  

Following the contestants after the competition has finished is imperative. “That is an important part of the Hastings International Piano experience”, he stresses. “We follow, support and offer performance opportunities to our pianists, and not just the finalists.” When choosing the winners, he says that “formally we don’t discuss the artists as a group of jurors.  The range of experience within the jury means we are all looking for different aspects of a performance, and make our selections individually.”

Hughes (above) considers the future of the competition to be rosy. “Professor Vanessa Latarche was President of the jury in 2022 and fulfilled that role magnificently.  She is now Artistic Director of Hastings International Piano and so I am confident we will attract an even wider range of pianists from across the world. One of the elements of the competition that distinguishes it from many others is that it focuses predominantly on the piano concerto; to that end we have conductor Rory Macdonald returning to conduct not just the finals,  but also the semi-final round.   One further innovation new to the Hastings competition is that we are commissioning a new piano solo work that each competitor will be required to perform in their solo recital round.”

These exciting developments are a natural progression from Paul’s previous role with the BBC Symphony Orchestra. “In my role there I have worked with and presented very many pianists, from early career new generation artists to the most distinguished pianists working today.    I have commissioned new work for them, supported and developed long term relationships with these amazing artists and fostered a sense of loyalty that I believe is so important in our profession. I am calling on all those experiences in Hastings to create a platform where we can discover, support and nurture young pianists and engage the Hastings community in the wonderfully exciting journey of a young pianist from competition to the very top of the profession.”

You can book tickets for The Hastings International Piano Competition Prize Winners’ Gala Concert by clicking on the link. Meanwhile the Piano Concerto Competition will return in February-March 2024 – with updates appearing on the competition website

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”

Listen

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”

Listen

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