Category Archives: Beethoven at 32

Day 268: Christus Am Olberge

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BeethovenCD73I’m going to bet today’s CD has something to do with Christianity.

Ah, yes.

The music begins ponderously, with great seriousness. And slowly. A bit of drama here and there. But mostly it sounds Very. Serious.

While I’m listening to this, I turn to the back of the CD sleeve to read the song titles. The first word of the first track is “Jehova.” So, I guess I was right.

There’s an interesting little blip in Track #2 around the 5:05 mark. It’s an edit that’s obvious enough to notice. Like the piece was created in two takes and the edit from splicing one take with another take. That’s what it sounds like, anyway. I could be wrong.

Incidentally, this compositions, according to its entry on Wikipedia,

Christus am Ölberge (in English, Christ on the Mount of Olives), Op. 85, is an oratorio by Ludwig van Beethoven portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. It was begun in the fall of 1802, soon after his completion of the Heiligenstadt Testament, as indicated by evidence in the Wielhorsky sketchbook. The libretto in German is by the poet Franz Xaver Huber, editor of the Wiener Zeitung, with whom Beethoven worked closely. It was written in a very short period; in a letter to Breitkopf & Härtel written shortly after the oratorio’s completion, Beethoven spoke of having written it in “a few weeks”, although he later claimed that the piece required no more than 14 days to complete. It was first performed on April 5, 1803 at the Theater an der Wien in Vienna; in 1811, it was revised by Beethoven for publication by Breitkopf & Härtel. The 10 years that passed between the composition of the work and its publication resulted in its being assigned a relatively high opus number.

The rest of the story behind this oratorio is fascinating. So if you have a few moments, hop over to Wiki and read it.

I’m not a fan of such compositions. So I can’t really comment with any balance.

I can say this: The performances are superb.

Here’s the cast and orchestra:

Seraph: Lieselotte Rebmann soprano
Jesus: Reinhold Bartel tenor
Petrus: August Messthal bass
South German Choral Society
Stuttgart Philharmonic Orchestra
Josef Bloser conductor

Liselotte’s voice is amazing. She hits a few high notes that I’m quite certain only dogs can hear.

All of the vocal performers are wonderful.

The orchestra seems adequate. Not mind blowing. Not terrible. Adequate to the task of accurately representing Beethoven’s oratorio.

This isn’t a CD I’ll be able to listen to again. Nor, did I hear anything on it that feel compelled to share with someone else.

Take that for what it’s worth.

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 204: Violin Concerto + Romances for Violin and Orchestra

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BeethovenCD9Beethoven’s violin concertos appear to be just as dynamic and melodic as his piano concertos.

In fact, there’s a tremendous melody in Movement I (“Allegro non troppo”) of Violin Concerto in D Op. 61.

At about 5:40 or so into Movement I there’s a gentle, soft melody line. It’s repeated throughout the movement and comes back forcefully at about the 8:45 mark. That’s when the melody is so striking that it sounds contemporary. Like if John Williams or Howard Shore wrote it for a blockbuster movie. And then again at the 15:00 mark. It’s a very beautiful movement.

I love a good melody. And that’s likely why nothing from Haydn stuck with me. I didn’t grasp a single melody from Haydn’s music.

That’s not to say Haydn’s music was bad, or that I’m a dolt. It just means I notice more melody in Bethoven’s music.

Here’s are the players on today’s CD:

Christian Tetzlaff violin
Tonhalle Orchestra Zurich
David Zinman conductor

Christian Tetzlaff is superb. Very 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 →