Monthly Archives: June 2014

Day 262: The Creatures of Prometheus, Ritterballett

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BeethovenCD67The Creatures of Prometheus?

The heck is that?

Or, the heck are they?

I swear, the titles of Beethoven’s compositions are getting truly interesting, if not bizarre.

I’ll let my fingers do the Googling to find out what this 19-track CD is all about.

Here’s what its entry on Wikipedia has to say:

The Creatures of Prometheus (German: Die Geschöpfe des Prometheus), Op. 43, is a ballet composed in 1801 by Ludwig van Beethoven following the libretto of Salvatore Viganò. The ballet premiered on 28 March 1801 at the Burgtheater in Vienna and was given 28 performances.

The overture to the ballet is part of the concert repertoire. Beethoven based the fourth movement of his Eroica symphony and his Eroica Variations (piano) on the main theme of the last movement of the ballet.

A ballet. That means no singing, right?

According to the back of the CD sleeve, these are the performers on today’s CD:

Tracks 1-11

Rochester Philharmonic Orchestra
David Zinman conductor

Tracks 12-19

Staatskapelle Berlin
Gunther Herbig conductor

The music is excellent.

Yet, I cannot figure out what the creatures of Prometheus are. Or why that is this ballet’s title.

And why have a ballet called “The Creatures of Prometheus,” anyway? Sounds kind of like dancing to The Creature From the Black Lagoon to me.

But what do I know?

Beethoven was 31 when he composed this delightful ballet.

That’s what I know.

Track 3 (“Maestoso andante – Adagio – Andante quasi allegretto”) is beautiful. Nice harp playing. Beautiful melody. A very fine piece of music using instruments I haven’t heard much of so far.

The second part of today’s CD is Continue reading →

Day 261: Egmont

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BeethovenCD66Egmont?

That’s an interesting title.

Or is it a name?

Time to let my fingers do the Googling.

Here’s what I discovered on Wikipedia:

Egmont, Op. 84, by Ludwig van Beethoven, is a set of incidental music pieces for the 1787 play of the same name by Johann Wolfgang von Goethe. It consists of an overture followed by a sequence of nine additional pieces for soprano, male narrator and full symphony orchestra. (The male narrator is optional; he is not used in the play, and he does not appear in all recordings of the complete incidental music.) Beethoven wrote it between October 1809 and June 1810, and it was premiered on 15 June 1810.

The subject of the music and dramatic narrative is the life and heroism of a 16th-century Dutch nobleman, the Count of Egmont. It was composed during the period of the Napoleonic Wars, at a time when the French Empire had extended its domination over most of Europe. Beethoven had famously expressed his great outrage over Napoleon Bonaparte’s decision to crown himself Emperor in 1804, furiously scratching out his name in the dedication of the Eroica Symphony. In the music for Egmont, Beethoven expressed his own political concerns through the exaltation of the heroic sacrifice of a man condemned to death for having taken a valiant stand against oppression. The Overture later became an unofficial anthem of the 1956 Hungarian revolution.

Fascinating.

The Overture (“Ouverture,” as it’s listed on the back of the CD) is amazing music. Dynamic. Heroic. Melodic.

The performers on today’s CD are:

Elisabeth Breul soprano

Horst Schulze speaker

Staatskapelle Berlin

Heinz Bongartz conductor

Unfortunately, as soon as the singing begins, Egmont loses me. Elisabeth Breul’s voice is the kind of soprano I don’t particularly enjoy. Clearly, she is very talented. But her tone rubs me the wrong way.

The music is superb, however. It would be a tremendously enjoyable CD if not for the singing and speaking parts. The speaker’s voice is fine. It’s just German. And I don’t speak German.

The recording was made in 1970. But it’s crystal clear and vibrant.

Beethoven was 39 going on 40 when he composed Egmont.

Day 259: Fidelio, Beginning

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BeethovenCD64Fidelio is, essentially, another version of Leonore. Or vice versa.

According to its entry on Wikipedia:

Fidelio (Leonore, oder Der Triumph der ehelichen Liebe: Leonore, or The Triumph of Married Love) (Op. 72) is a German opera with spoken dialogue in two acts by Ludwig van Beethoven. It is his only opera. The German libretto was prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, which had been used for the 1798 opera Léonore, ou L’amour conjugal by Pierre Gaveaux, and the 1804 opera Leonora by Ferdinando Paer (a score of which was owned by Beethoven).

The opera tells how Leonore, disguised as a prison guard named “Fidelio”, rescues her husband Florestan from death in a political prison.

Oddly enough, even though Fidelio and Leonore are essentially the same opera they are worlds apart in presentation. In other words, Fidelio is nothing I’d ever listen to on my own. The voices are like fingernails on a chalk board. The music is bland.

Yet, Leonore I could listen to multiple times because I was drawn in from the start…and captivated to the end.

And this night-and-day difference between the two has nothing to do with the performers or the musicians. They are absolutely top notch on today’s CD, with Sir Colin Davis directing the London Symphony Orchestra and a host of world-class singers to give life to Beethoven’s story. It doesn’t get much better than that.

But Fidelio is cringe worthy.

Go figure.

And to think I have to endure part two tomorrow.

Ugh.

Day 258: Leonore, Conclusion

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BeethovenCD63For an opera, this is really quite good.

And I say that as an unabashed opera basher.

It’s a rare opera that I can truly say I enjoy.

Beethoven’s Leonore is a rare opera.

Composed in 1805 (Beethoven was 35), Leonore (also known as Fidelio) is his only opera.

Leonore features compelling, dynamic music, a believable story, and – on this edition by Brilliant Classics – superb performances from some of the world’s most famous opera stars.

Part of what I like about Leonore is the music. Usually, operas focus less on the music than they do on the performers’ voices. Not this one. The music is genuinely compelling on its own.

Plus, Leonore is not as talky as some opera. The balance between dialogue and music and singing is just about right. And the voices are superb.

Superb, I tell’s ya!

This is one of my favorite operas. Everything about it is top-notch.

Day 257: Leonore, Beginning

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BeethovenCD62I am now listening to Beethoven’s opera.

I’m up to CD 62 and this is the first time voices enter the scene.

There’s a reason for that.

Beethoven only wrote one opera.

Here’s the poop on Fidelio, according to its entry on Wiikipedia:

Fidelio (Leonore, oder Der Triumph der ehelichen Liebe: Leonore, or The Triumph of Married Love) (Op. 72) is a German opera with spoken dialogue in two acts by Ludwig van Beethoven. It is his only opera. The German libretto was prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, which had been used for the 1798 opera Léonore, ou L’amour conjugal by Pierre Gaveaux, and the 1804 opera Leonora by Ferdinando Paer (a score of which was owned by Beethoven).

The opera tells how Leonore, disguised as a prison guard named “Fidelio”, rescues her husband Florestan from death in a political prison.

Frankly, I’ve never been a fan of opera. Much (most? all?) of it is dreck.

So, I’m usually wincing by the time one of my musical explorations enters the realm of opera.

Today’s foray into the world of opera is different for several reasons:

1. It’s Beethoven. So the music leading up to the singing is very good. It’s holding my attention.

2. This is Beethoven’s only opera, which gives it the weight of importance (at least in my mind).

3. It’s in German, which is a language that never fails to make me chuckle.

NPR posted a good review/commentary of Beethoven’s Leonore. Here’s an excerpt:

For ages, Leonore was viewed as little more than a flawed first draft of Fidelio. But over the last decade or two, interest in Beethoven’s earlier version has increased, even resulting in several recordings.

Some conductors who have taken interest in Leonore, like Nicholas McGegan (who conducts this concert), feel that the emotional content of Beethoven’s earlier version is more pure, intense and immediate.

The opera is imbued with Beethoven’s vision of freedom from political oppression, sparked by the ideals of the French Revolution. One writer described it as the story of “a woman, disguised as a prison worker, who liberates her husband, and strikes a blow for freedom, feminism, and prison reform.”

This recording is remarkably clear and clean. Every nuance is captured. The performers are superb. And that’s a biggie for me. There’s a certain range of voice that Continue reading →

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 255: Misc. Piano Works III, Piano Variations V

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BeethovenCD60Now that’s how you begin a CD!

CD 60 opens with a frenetic little composition called “Presto in C minor Wo052.”

Lots of trills, lots of crashing chords, lots of runs. Then a mellower middle part that gives way to the super-busy theme that opened the piece.

I like it.

The pianist on this works and variations CD is Georg Friedrich Schenck. The music was recorded in late December, 2006. Schenck’s piano has a bright sound, almost a little too tinny for my tastes. But he’s obviously accomplished.

And oh-so-nimble fingered. Because the second track (“Allegretto in C Hess 69”) doesn’t let up on the speed. If anything, it ratchets up the tempo a notch.

Here’s a little about Georg from his entry on Wikipedia:

Georg Friedrich Schenck was born in Aachen Germany in 1953. Graduating from Hanover Music College (student of Bernhard Ebert), he took masterclasses with Claudio Arrau, and then was a student of the American pianist Andre Watts for many years.

Most of these Beethoven compositions are lively.

Very short, too.

There are 44 works for piano on this CD. I won’t list all their names.

Track #11 (“Fantasia in G minor Op. 27”) is a remarkable little tune. Kind of strange. Almost avant-garde. Dreamy. Fascinating. Plus, because it’s one of the longer pieces of music, I have time to enjoy it before it’s gone.

Track #15 (“Variation 2” on “a March of Dressler”) is also quite entertaining with all of its busy fingers and bright-sounding notes mostly in the upper register.

Most of these works and variations aren’t memorable, and aren’t even that entertaining as they’re playing.

So I seriously doubt I’ll listen to this CD again, with the exception (possibly) of the pieces listed above.

Day 254: Bagatelles II, Misc. Piano Works

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BeethovenCD59If shaking a stick is your thing, today’s CD will thrill you.

There are more trills, blistering runs up and down the keyboard, and lightning-quick scales on CD 59 than you can shake a stick at.

So get shakin’ because this is serious music for seriously gifted pianists.

Here’s what’s on today’s CD:

6 Bagatelles Op. 126

Rondo A Capriccio in G Op. 129

Rondo in C Op. 51 No. 1

7 Bagatelles Op. 33

Andante Favori in F Wo057

Ziemlich lebhaft in B-Flat Major WoO60

Once again, Alfred Brendel is the ivory tickler.

And that’s nothing to shake a stick at.

Day 253: Piano Variations IV, Bagatelles I

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BeethovenCD58There are 45 tracks on today’s CD. I’m not going to list them all.

They’re broken up into two sections, however.

I will list those:

33 Variations in C Op. 120

11 Bagatelles Op. 119

I’m not a fan of variations CDs that contain so many tracks. It’s hard for me to appreciate or get into compositions that only last a minute or so.

I will say Track 3 (“Poco allegro”) reminded me of Dave Brubeck. It had a Boogie-Woogie jazz feel to it.

The rest of these tracks, although well crafted, don’t interest me. They’re not long enough in which to immerse myself.