Category Archives: Beethoven at 30

Day 248: Piano Sonatas Op. 13 “Pathetique,” Op. 22, Op. 26 “Funeral March,” Op. 78

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BeethovenCD53Today’s CD, like so many others, features some of Beethoven’s best work – at least, to my ears.

For example, the first composition – Piano Sonata No. 8 in C Minor Op. 13 “Pathetique,” which is analyzed on Wikipedia in this entry:

Ludwig van Beethoven’s Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven’s liking) by the publisher, who was impressed by the sonata’s tragic sonorities.

Prominent musicologists debate whether or not the Pathétique may have been inspired by Mozart’s piano sonata K. 457, since both compositions are in C minor and have three very similar movements. The second movement, “Adagio cantabile”, especially, makes use of a theme remarkably similar to that of the spacious second movement of Mozart’s sonata. However, Beethoven’s sonata uses a unique motif line throughout, a major difference from Haydn or Mozart’s creation.

This sounds more like Beethoven than the pieces he dedicated to Haydn. It’s dynamic, with an emphasis on introspection and melancholy.

Coincidentally, as I was listening to this piece, I wondered if Continue reading →

Day 246: Piano Sonatas Op. 14 No. 2, Op. 27 Nos. 1 & 2 “Moonlight,” Op. 28 “Pastoral”

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BeethovenCD51I was hooked – hooked! – from the first notes of today’s CD.

It just has that indefinable, magical quality I like in my piano sonatas.

Plus, it has the incomparable Alfred Brendel tickling the ivories.

Did I just type that?

Do Classical pianists tickle anything, let alone ivories?

And, for that matter, are piano keys made of ivory?

Whatever.

Today’s piano sonatas are superb. This immediately became one of my favorite Beethoven Piano Sonata CDs.

Here’s what I am listening to today:

Beethoven Piano Sonata No. 10 in G Op. 14 No. 2

According to its entry on Wikipedia:

The Piano Sonata No. 10 in G major, Op. 14, No. 2, composed in 1798–1799, is an early-period work by Ludwig van Beethoven, dedicated to Baroness Josefa von Braun. A typical performance lasts 15 minutes. While it is not as well known as some of the more original sonatas of Beethoven’s youth, such as the ‘Pathétique’ or ‘Moonlight’ sonatas, Tovey[1] described it as an ‘exquisite little work.’

Beethoven was 28-29 when he composed this piece.

Beethoven Piano Sonata No. 13 in E Flat Op. 27 No. 1

According to its entry on Wiki:

Piano Sonata No. 13 in E-flat major “Quasi una fantasia”, Op. 27, No. 1, is a sonata composed by Ludwig van Beethoven in 1800–1801.

Beethoven was about 30 years old when he wrote the sonata. He had already made a name for himself in Vienna as pianist and composer and was beginning to explore alternatives to the classical-era compositional procedures that he had largely adhered to during the 18th century. The most famous works of his “middle period”, often emphasizing heroism, were yet to come.

Beethoven’s sketches for the first, second, and final movements survive, but the original autograph copy is lost. The sonata was published separately from its more famous companion, Opus. 27 No. 2 (the so-called “Moonlight” Sonata), but at the same time, by Cappi in Vienna; the first advertisements for the work appeared 3 March 1802. Both Op. 27 sonatas were originally titled Sonata quasi una fantasia.

The dedicatee of the work was (as was typical of the time) an aristocrat, Princess Josephine von Liechtenstein. Little is known of Beethoven’s relationship with her.

Beethoven Piano Sonata No. 14 in C Sharp Minor Op. 27 No. 2 “Moonlight”

As I wrote at the outset, the opening notes of Piano Sonata No. 10 in G Op. 13 No. 2 drew me in to today’s CD. Movement I (“Andante – Allegro – Andante”) of Piano Sonata no 13 in E Flat Op. 27 No. 1 sweetened the deal.

But the main reason why Continue reading →

Day 214: Septet Op 20 & Sextet Op 81B

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BeethovenCD19The first of the two compositions on today’s CD is Septet in E Flat Op 20, performed by Deutsche Kammerphilharmonie.

Septet, in case you’re not up on your German/Latin etymology, means seven. So this composition consists of seven instrumentalists.

According to its entry on Wikipedia, the Septet in E Flat Op 20,

was sketched out in 1799, completed, and first performed in 1800 and published in 1802. The score contains the notation: “Der Kaiserin Maria Theresia gewidmet”, or translated, “Dedicated to the Empress Maria Theresa.” It is scored for clarinet, horn, bassoon, violin, viola, cello, and double bass. It is in six movements.

So, Beethoven was 29 when this was “sketched out,” 30 when it was first performed, and 32 when it was published.

This piece of music may only have seven instruments, but it sounds very full, quite “heavy,” in a sense. Dramatic, for sure.

The second composition is Sextet in E Flat Op 81B, performed by Erben Quartet with Gerhard Meyer and Rudolf Horold playing the horn. (Sextet means six.)

According to an entry on the LA Philharmonic site, this piece was composed early, about 1795, but not published until 1810, which accounts for its high Opus number.

Beethoven was 25 was he composed this, and 40 when it was published.

It’s a solid piece of writing. But not much about it stands out for me, perhaps because it seems rather ponderous, almost lugubrious. It seems somber.

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 196, Part 2: Beethoven Symphonies 1 and 3

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BeethovenCD1The premiere of Beethoven’s Symphony No. 1 took place on 2 April 1800.

Beethoven was 30 years old.

According to its entry on Wikipedia,

Symphony No. 1 in C major, Op. 21, was dedicated to Baron Gottfried van Swieten, an early patron of the composer. The piece was published in 1801 by Hoffmeister & Kühnel of Leipzig. It is unknown exactly when Beethoven finished writing this work, but sketches of the finale were found from 1795.

The symphony is clearly indebted to Beethoven’s predecessors, particularly his teacher Joseph Haydn as well as Wolfgang Amadeus Mozart, but nonetheless has characteristics that mark it uniquely as Beethoven’s work, notably the frequent use of sforzandi and the prominent, more independent use of wind instruments. Sketches for the finale are found among the exercises Beethoven wrote while studying counterpoint under Johann Georg Albrechtsberger in the spring of 1797.

The beginning of the twelve-bar introduction of the first movement is sometimes considered a “musical joke”. For example, the English musicologist Donald Tovey has called this work “a comedy of manners”. In fact, Symphony No. 1 can be regarded as a result of Beethoven’s bold musical experimentation and advancement which he presents five years after Haydn’s last symphony and twelve years after Mozart’s final Jupiter Symphony.

Fascinating. I had no idea Beethoven was so heavily influenced by Haydn and Mozart.

I can tell from the first few bars of Symphony No. 1 that this is a very mature composition, quite solid, and absolutely listenable. In fact, Continue reading →