Category Archives: Beethoven at 33

Day 271: Songs I

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BeethovenCD76I don’t like songs. From a Classical composer, I like music.

I realize songs are music.

But listening to operatic voices – usually in a foreign language – go on and on about something about which I know nothing is not my idea of a good time.

It’s not that these vocalists aren’t talented. No way. They’re are world-class performers.

On today’s CD, in fact, we have:

Peter Schreier tenor

Walter Olbertz piano

Adele Stolte soprano

I’ve encountered the name Peter Schreier many times before. He’s a gifted singer.

But if I’m going to listen to a vocalist accompanied by a piano, I’d rather it be Frank Sinatra. Or Sammy Davis, Jr. Or Dean Martin.

Most of the songs on today’s CD are of the Wo0# type, which means they’re Without Opus (WoO) number. In other words, songs Beethoven wrote but didn’t deem worthy to be given an opus number. That tells me something.

The first track is “Das Glück der Freundschaft.” It is Op. 88, composed in 1803. Beethoven was 33 when he wrote this song. Several other songs have an opus number. But not many.

Most of these songs sound the same to me. In fact, I had to repeatedly check to see if I iTunes was on another track because it sounded like I was on Repeat.

Day 256: Piano Works 4-Hands

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BeethovenCD61I’m not sure why anyone would create piano music that requires four hands to play.

Be that as it may, these compositions are quite good.

Then again, I’m a sucker for piano music.

So if Bozo the Clown sat down at the piano and played with his elbows using only the black keys, I’d probably enjoy it.

These compositions are better than Bozo playing the black keys. Or Scottish folk songs. Or vocal music in general. But they aren’t Chopin nocturnes performed by Arthur Rubinstein. Or Bach’s Brandenburg Concerts performed by Glenn Gould. They’re just Beethoven’s four-hand piano music performed by accomplished musicians.

So, they’re good. But not great. And not something I’ll likely ever want to hear again.

Here’s what I’m listening to today:

Sonata in D Op. 6 (composed 1796-1797; Beethoven was 26-27)

8 Variations in C Wo067

3 Marches Op 45 (composed 1803; Beethoven was 33)

6 Variations in D Wo074

Grosse Fuge Op. 134

Here’s what Grosse Fuge Op. 134 would look like played on stage:

Piano Sonata in D Wo047 No. 3

Most of these pieces are very short, some only about 30-40 seconds – which almost qualifies them as “snippets.”

Performers:

Frank Zabel, Stefan Thomas piano four-hands tracks 1-27
Ulrich Staerk piano tracks 28-30

My favorite pieces on this CD are the last three tracks, which comprise Piano Sonata in D Wo047 No. 3.

I do enjoy piano music.

Day 229: Violin Sonatas IV

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BeethovenCD34What a terrific way to start a day!

Movement I (“Adagio sostenuto – Presto”) from Violin Sonata No. 9 in A Op. 47 “Kreutzer” is a corker. Brisk, expressive, and dynamic; it’s everything a Beethoven composition should be.

The performers are the same as they’ve been for the past few Violin Sonata CDs:

Kristof Barati violin
Klara Wurtz piano

But there’s something especially magical about this sonata, a fun melody that alternates between the violin and the piano as it expresses itself. It has that ask-and-answer quality that I like where one instrument will play a short passage and then the other will repeat it, back and forth.

This movement almost has a kind of Hungarian feel to it.

And pizzicato! Yes, pizzicato, my old friend. Toward the end of Movement I, as things are really syncopated and dynamic, the violin plays a bit of pizzicato as the counterpoint to the piano’s dynamics. It’s particularly arresting. It happens around the 10:45 mark in the piece.

I have to say, this movement, from this Piano Sonata, could very well be one of my favorite pieces from Beethoven. This is tremendously compelling music.

The above YouTube clip is not from this morning’s listening. Featured on that clip are violinist Itzhak Perlman and pianist Vladimir Ashkenazy. The recording on the YouTube clip is from 1973. It’s a fine recording, and they are fine musicians. But, truth be told, I prefer the dynamics of Kristof and Klara for this piece.

By the way, in the YouTube clip, my favorite part comes around the 9:25 mark.

It’s time to let my fingers do the walking into Google Land for a moment. I need to find out more about Piano Sonata No. 9 in A Op. 47 “Kreutzer.”

Ahh, and so I discover what Continue reading →

Day 202: Beethoven Piano Concertos 3 & 5

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BeethovenCD7More wonderfulness from L.V. Beethoven.

And from Brilliant Classics.

And from Yefim Bronfman piano,
Tonhalle Orchestra Zurich, and
David Zinman conductor

Beethoven Piano Concert No. 3 in C Minor Op. 37 is another tour de force for pianist Yefim Bronfman. According to its entry on Wikipedia:

The Piano Concerto No. 3 in C minor, Op. 37, was composed by Ludwig van Beethoven in 1800 and was first performed on 5 April 1803, with the composer as soloist. The year for which the concerto was composed (1800) has however been questioned by contemporary musicologists. It was published in 1804. During that same performance, the Second Symphony and the oratorio Christ on the Mount of Olives were also premiered. The composition was dedicated to Prince Louis Ferdinand of Prussia. The first primary theme is reminiscent of that of Mozart’s 24th Piano Concerto.

Movement I (“Allegro con brio”) of Op. 37 is an amazing composition. Dynamics up the yin-yang. Loud-soft, loud-soft. Ivory tinkling down to a whisper, and then back up again to pounding crescendo, some of which reminded of the soundtrack to an old-time (silent) movie. When the villain would show up on screen, the piano would play these low-note rumbles that indicated something was afoot. Same here.

Movement II (“Largo”) is precisely the tempo it declares itself to be. It’s about half as fast as the first movement, but very pretty. Lots of dreamy sequences.

Movement III (“Rondo Allegro”) is another wonderful melding of Continue reading →

Day 197: Beethoven Symphonies 2 & 4

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BeethovenCD2Like yesterday’s CD, today’s offering of Beethoven symphonies (No. 2 and No. 4 this time) are mature, melodic, dynamic, remarkably listenable, and enjoyable from start to finish.

And, like yesterday, I have to admit I had no idea Beethoven was this good.

I’m sure Schroeder (from Peanuts fame) would cluck his tongue at my ignorance regarding his favorite composer.

Schroeder
But I can’t know everything about everything. I mean, come on.

I’m only human.

Beethoven’s symphonies are both dynamic and delicate, with boisterous passages as well as gentle ones. Plus, the choice of instruments and what they play is masterful. I find myself leaning forward to hear every note.

I didn’t do that with Haydn. (Well, maybe once or twice.)

I did it with Mozart. A lot. But rarely with Haydn.

And, so far, I’m doing it with every composition from Beethoven.

According to Wikipedia, “Symphony No. 2 in D major (Op. 36) is a symphony in four movements written by Ludwig van Beethoven between 1801 and 1802. The work is dedicated to Karl Alois, Prince Lichnowsky.” Which means Beethoven was 32 when he finished Symphony No. 2. (And 33 when it premiered.)

From its entry on Wiki:

Beethoven’s Second Symphony was mostly written during Beethoven’s stay at Heiligenstadt in 1802, at which time his deafness was becoming more apparent and he began to realize that it might be incurable. The work was premiered in the Theater an der Wien in Vienna on 5 April 1803, and was conducted by the composer. During that same concert, the Third Piano Concerto and the oratorio Christ on the Mount of Olives were also debuted. It is one of the last works of Beethoven’s so-called “early period”.

For example, Movement III (“Scherzo & Trio: Allegro”) from Symphony No. 2 in D. Op. 36 is particularly captivating. Lots of clever little Continue reading →