Joséphine de Clary, dedicatee of Beethoven’s music for mandolin and piano. Picture courtesy of the Beethoven-Haus Bonn.

Adagio in E flat major for mandolin and piano, WoO 43b (1796, Beethoven aged 25)

Dedication Joséphine de Clary
Duration 5′

Listen

Background and Critical Reception

The fourth and last of Beethoven’s known works for mandolin and fortepiano is a quite substantial Adagio, whose performing length is similar to the Sonatina in C minor. Its key of E flat major offers the possibility it was intended as the second movement of a bigger structure that went unfinished, as does its compatibility with the first piece. As with the other three of Beethoven’s mandolin works, it was ultimately written for Joséphine de Clary.

Thoughts

The piano takes the lead in this slow movement, which could form a complement to the Sonatina given its key of E flat major. Block chords are the support for a simple melody, the mandolin taking a supporting role at the start of what on the face of it seems like a straightforward piece. Yet here and there Beethoven mixes in some unexpected harmonies to keep the listener on their guard, and a middle section brings more energy before we revert to the original theme with the mandolin now in a higher register. It is quite a strange piece, and restless of mood.

Recordings used and Spotify links

Anna Torge (mandolin) and Gerald Hambitzer (fortepiano)

Alon Sariel (mandolin) and Michael Tsalka (fortepiano)

Julien Martineau (mandolin) and Vanessa Benelli Mosell (piano)

The block chords are clumped together on Tsalka’s fortepiano, as with Gerald Hambitzer on CPO, whereas the modern instrument gives much more sustain for Vanessa Benelli Moselli. Her account with Julien Martineau works best for this reason.

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 1796 Hyacinthe Jadin – 3 Piano Sonatas Op.5

Next up 12 Variations on ‘See the conqu’ring hero comes’ for cello and piano

Jean-Baptiste Krumpholz, brother of Wendel Krumpholz, a violin and mandolin-playing friend of Beethoven in Vienna.

Sonatina in C minor for mandolin and piano, WoO 43a (1796, Beethoven aged 25)

Dedication Joséphine de Clary
Duration 4′

Listen

Background and Critical Reception

Beethoven’s first two works for mandolin and piano, a C major Sonatina and the Andante con Variazoni, bear the publishing imprint WoO (work without opus) 44. The next two carry the number 43, but are thought to have been revised versions of pieces he started in Vienna, presumably for his friend Wenzel Krumpholz.

Beethoven’s mandolin music is not generally regarded as great, though it should be said his contemporaries, among them Hummel, were writing for the instrument around the same time. This Sonatina is of a similar length to its C major counterpart but uses the minor key. Despite that the music is more for private use than a work like the Piano Trio in C minor, the third of the Op.1 set.

Thoughts

The musical language is much more serious in this Sonatina compared to the previous one – though with the tones of the mandolin it does sound much more tongue in cheek. Soon the music shifts from the minor key to the major and it feels like all is well – but it is not long before Beethoven returns to the opening material, and the faces straighten once again.

There is a mournful, almost funereal air to the main theme if it is played slowly, but ultimately the colours are too light for it to linger.

Recordings used and Spotify links

Anna Torge (mandolin) and Gerald Hambitzer (fortepiano)

Alon Sariel (mandolin) and Michael Tsalka (fortepiano)

Julien Martineau (mandolin) and Vanessa Benelli Mosell (piano)

Alon Sariel and Michael Tsalka are quite deliberate in their account, especially at the end. Julien Martineau and Vanessa Benelli Mosell play the outer sections with tremolo at a very slow tempo, making the piece sound much more of a lament. Their central section has an appealing, graceful character. Anna Torge and Gerald Hambitzer take a similar approach.

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 1796 Gyrowetz – String Quartet in E flat major Op.13/3

Next up Adagio for Mandolin and Piano WoO43b

Joséphine de Clary, dedicatee of Beethoven’s music for mandolin and piano. Picture courtesy of the Austrian National Library.

Andante con variazioni in D major for mandolin and piano, WoO 44b (1796, Beethoven aged 25)

Dedication Joséphine de Clary
Duration 9′

Listen

Background and Critical Reception

Beethoven’s second work for mandolin and fortepiano was also intended for Joséphine de Clary, and is a quite substantial set of six variations on a theme of unknown origin. It can also be played – unarranged – for violin and piano, which would suit Wenzel Krumpholz, the mandolin and violin player with whom Beethoven struck up a friendship in Vienna.

The piece is clearly written for some fun to be had between two players in an informal setting, and comfortably achieves its aim.

Thoughts

The theme chugs along in a friendly mood but there are hints of trouble when Beethoven adds a few spicy harmonies in the second half, providing a departure point for the piano. The first variation shows off the mandolin with some nice figurations, then the second goes towards the extremes of the instrument’s range.

Inevitably there is a doleful minor key variation, its sadness exaggerated by the plucking of the mandolin, but it is completely trumped by the following variation which skips merrily towards the end with a broad and slightly mischievous grin. A soft-hearted coda seals the deal.

Recordings used and Spotify links

Anna Torge (mandolin) and Gerald Hambitzer (fortepiano)

Alon Sariel (mandolin) and Michael Tsalka (fortepiano)

Julien Martineau (mandolin) and Vanessa Benelli Mosell (piano)

Alon Sariel and Michael Tsalka have a nice ‘give and take’ to their recording, as do Julien Martineau and Vanessa Benelli Mosell, who are a bit quicker in their version. Anna Torge and Gerald Hambitzer, in a disc from 2018 on CPO, have a lot of fun too – it’s difficult not to in a piece like this!

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 1796 Gyrowetz – String Quartet in C major Op.13/2

Next up Sonatina for Mandolin and Piano in C minor WoO43a

Beethoven’s Milanese mandolin, as hung near the piano at his home

Sonatina in C major for mandolin and piano, WoO 44a (1796, Beethoven aged 25)

Dedication Josephine de Clary
Duration 3′

Listen

Background and Critical Reception

Here is a lesser known corner of Beethoven’s output – the works for mandolin and piano. They have their origins in Beethoven’s travels from Vienna in 1796, and in particular his stayover in Prague, but it is thought the roots for Beethoven’s association with the instrument extend back to Vienna a year earlier when he met Wenzel Krumpholz, who played both violin and mandolin.

Their meeting is said to have taken place around the publication of the Op.1 piano trios, and ultimately yielded a Sonatina and an Adagio, of which more in the near future. This particular Sonatina – also with a complementary Adagio to come – are thought to have been written in the Czech capital for Josephine de Clary. More on her in the next article!

Thoughts

This is a whole new sound world for the Beethoven listening, and it proves to be rather invigorating. The musical language is relatively simple for the piano, letting the mandolin run free with a faintly humourous tune. Perhaps inevitably Beethoven cannot resist a central section of minor key bravado, the music taking a relatively stormy direction before realising its ‘mistake’, returning to the good-natured main theme.

The Sonatina is short but rather quaint, and is guaranteed to raise a smile from its audience.

Recordings used and Spotify links

Anna Torge (mandolin) and Gerald Hambitzer (fortepiano)

Alon Sariel (mandolin) and Michael Tsalka (fortepiano)

Julien Martineau (mandolin) and Vanessa Benelli Mosell (piano)

Anna Torge and Gerald Hambitzer give a bright account, the fortepiano’s friendly tones complementing the nicely phrased mandolin. Alon Sariel and Michael Tsalka are also good if a little sharp-edged with the recorded sound.

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 1796 Gyrowetz – String Quartet in D major Op.13/1

Next up Abschiedsgesang an Wiens Bürger