Tutti Beethoven

Duo for Flutes in G major: Allegro and Minuet (1792)

noreply@blogger.com (Unknown) — Wed, 09 Sep 2009 19:52:00 +0000

Biamonti 32, WoO 26, Hess 17
If this score is any indication, Beethoven in Bonn was a nightowl. On the manuscript of this inventive and interesting duet, he dedicated to "friend Degenharth, 23 August 1792, 12 at night" (Contrarily, Biamonti feels that this notation doesn't fit Beethoven's character.) Later that year, Degenhart would return the favor later that year when Beethoven left for Vienna by assembling a farewell album for the young composer.
What is most interesting about this piece is the way that Beethoven is able to take the problem inherent in this ensemble: two flutes in basically the same register, and from this create an exciting and surprising sonata movement and minuet. Lively, cheerful, impressive. Degenhart must have been pleased. Recommended.

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YouTube is awash in performances, none really stand out, though here's a rather lively version.

Piano Trio in E flat major (1785-91)

noreply@blogger.com (Unknown) — Tue, 08 Sep 2009 19:51:00 +0000

Biamonti 31, WoO 38, Grove 153
Schindler says Beethoven wrote this when he was 15 (1785), mose scholars seem to dismiss this claim, accepting instead that it dates from 1791. Scholars debate whether this was intended to be a part of Opus 1, the set of Piano Trios. It does feature some firsts: Beethoven's first Scherzo, warm and gentle if overlong, and one of Beethoven's first codas at the end of a Sonata: a sonata which is charming and light, with a few treats, one being that very coda. The Rondo, an odd mixture of the brilliant and the lyrical - a la Mozart - has some interesting moments, particularly its ending. Throughout, there are few real melodies beyond the opening and the instruments seldom get the chance to shine: the work is piano-heavy. Beyond that, there also isn't the surety in switching from one topic to another that is a feature of Mozart or later Beethoven. Rather, one feels as if the work is awash in figuration, seeming like a minor work of Clementi, one lacking in excessive ornament. I like the piece, but I can understand how it could be frustrating.
Mislabelled as WoO 39 in the Brilliant Classics set.

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Ballet Music for Piano: "Ritterballet" (1790-1791)

noreply@blogger.com (Unknown) — Mon, 07 Sep 2009 15:28:00 +0000

Biamonti 30, Hess 89
A piano arrangement, presumably by Beethoven, of the Ritterballett (Biamonti 29) above. As one might expect, it works just fine on the piano.
Unheard Beethoven has created a midi version.

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Beethovenhaus

Ballet Music: "Ritterballet", music for a ballet of knights (1790-1791)

noreply@blogger.com (Unknown) — Fri, 04 Sep 2009 15:27:00 +0000

Biamonti 29, WoO 1, Grove 149
The Ritterballet is graced with the distinction of being first among the unassigned, WoO 1 and has thus always held a strange fascination for me. In sound and in point it is an accomplished curiousity. Apparently, Beethoven was asked to create a ballet of sorts during which various regal aristocrats would traipse around in costumes while depicting important elements of the German aristocratic life such as hunting, drinking, dancing. With its initial performance for Count Waldstein on March 6, 1791, it became perhaps the only orchestral music of Beethoven heard in Bonn. The dances are generally pleasant and are linked by a recurring "German Dance."

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A portion of the Hunting Dance followed by the German Dance played as well as it may have been played in Bonn:

Aria in D major: "Mit Mädeln sich vertragen"; for bass & orchestra (c. 1790)

noreply@blogger.com (Unknown) — Thu, 03 Sep 2009 15:27:00 +0000

Biamonti 28, WoO 90
this second aria for bass and orchestra can actually be traced to the Geothe singspiel Claudine de Villabella in which it is sung antiphonally between Rugantino and the Vagabond chorus. The text of Beethoven's version is quite different from the version used by Reichardt. In Beethoven's version, the vagabonds have gone home, leaving a cheery bass to sing a rather solid Mozart buffa aria, compete with an onomatopoetic section based on the sound of swords clashing - kling, klang, ding, dang, and so forth. A real trick for a record needle test as it sounds very little like Beethoven.

Aria in F major: "Prüfung des Küssens"; for bass & orchestra "Meine weise Mutter spricht" (c. 1790)

noreply@blogger.com (Unknown) — Wed, 02 Sep 2009 15:26:00 +0000

Biamonti 28, WoO 89
Beethoven wrote two arias for bass ad orchestra using text from Goethe's singspiel Claudine de Villabella. The text itself was originally, it seems, part of a colaboration between Goethe and the famously pirckly composer Johann Friedrich Reichardt. Claudine itself is a work in the Sturm und Drang mode telling the story of the young Claudine and the awkward vagabond Don Pedro. Intrigue and disguises follow and eventually all end up happily ever after. A search of the libretto of the singspiel, however, does not turn up this text.

This singspiel aria for bass and orchestra gives us a sense of what Beethoven might have written if he were a completely different composer and writing buffa arias. It's a rather tame, Mozartian sentimentality buffa. Nothing gets out of control, nothing gets too exciting; the piece is over as it began.

Song in G major: "An Laura"; "Freud’ umblühe dich auf allen Wegen" (c. 1790)

noreply@blogger.com (Unknown) — Tue, 01 Sep 2009 15:25:00 +0000

Biamonti 27, WoO 112, Hess 128
Very CPE Bach, ABA: a sentimentality melody comprises the A section and an emotional outburst of recitative, the B. There is also a curious rangy piano interlude between sections. The original manuscript, discovered in 1911, was destroyed when someone, set off an incendiary device in the Beethoven-Haus in Bonn in 1960. Glauert (in the Cambridge companion to Beethoven) suggests that the melody strains against the vocal line - I would agree with this, I found it uncommonly difficult to work through.

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Piece for Piano in C major: "Lustig - traurig" (Merry - Sad) in C & c (1790)

noreply@blogger.com (Unknown) — Mon, 31 Aug 2009 15:24:00 +0000

Biamonti 26, WoO 54
Two tiny phrases for piano. As the title suggests, one is happy one is sad. The happy is in C major and triple meter, the Sad is in C minor, still triple meter but with a more Alberti-like bass. Fodder for semiologists who seek meaning in Beethoven's key choice.
Its dating has been the subject of speculation, being put at 1790, 1798 and 1820.

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6 Variations for Piano or Harp in F major: on a Swiss air (1790)

noreply@blogger.com (Unknown) — Fri, 28 Aug 2009 15:23:00 +0000

Biamonti 25, WoO 64, Grove 183
A comparison between this miniature set of variations and the previous entry, the Variations on Righini's "Venni, Amore" is particuarly telling. While both themes share a beginning that signals a closing, the approach to the two themes is radically different. The Righini variations take apart the theme in the manner we think of from Beethoven, the melody is lost, but the harmonic framework remains and itself becomes the subject of variation. This set of variations uses instead the shape and nearly entirety of the melody throughout, varying the setting in which it is placed. Almost Mozartean in style, it lacks any sort of surprise element. To call this tiny set of six variations on a miniscule Swiss song inconsequential would be to give it too much credit. It goes through the motions, maybe a little better than some but not many.

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Variations for Piano: on "Venni, Amore" by Vincenzo Righini (first version) (1790)

noreply@blogger.com (Unknown) — Thu, 27 Aug 2009 19:26:00 +0000

Biamonti 24, Hess 55, (WoO 65, Grove 177)
A set of variations on the Aria "Venni, Amore" by the pedestrian composer, singer and kapellmeister, Vincenzo Righini. Beethoven performed this set, none too delicately, as his debut as a pianist in Vienna. Biamonti 24 refers to what was thought to be an original edition of the work of the same title published in 1802 (Biamonti 299). Biamonti suggests that the original edition of this work was definitive as of 1801, but then lost. The Beethovenhaus-Bonn reports that a copy of this lost original edition was found in 1984 by the duo of Sieghard Brandenburg and Martin Staehelin and further reports that this edition and the more common 1802 edition are quite similar, making this version (biamonti 24) the only version and the latter version (Biamonti 299) an unnecessary duplication.
Musically we have 24 variations in D major on a quirky nothing of a theme. Beethoven seems to be drawn to two particular aspects of this small theme: the Lebewohl to decpetive cadence opening - such that the entire work seems to be the cadential part of a period - and the clash of G-natural versus G-sharp in the final cadential figure of the theme. Throughout, Beethoven plays with a number of topics and even brings about duet-like moments, both with register and meter. Most of the variations are interesting but don't get enough time to do anything extra special, the final few are particularly nice and feature a surprise move to the Neapolitan. Worth seeking out.

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Song in E major: "Klage"; "Dein Silver schien durch Eichengrün" (1790)

noreply@blogger.com (Unknown) — Wed, 26 Aug 2009 15:22:00 +0000

Biamonti 23, WoO 113
A ballad-y song awash in sentimentality, it has a sound close to what we would expect from Schubert. Beginning in E major and ending in e minor, its B section is over a palpitating accompaniment. Rangy and oddly intriguing.

Song in G major: "Punschlied"; "Wer nicht, wenn warm von Hand zu Hand" (1789-1790)

noreply@blogger.com (Unknown) — Tue, 25 Aug 2009 15:22:00 +0000

Biamonti 22, WoO 111, Hess 126
A rather cheery little drinking song in a volkstumliche style. Only the first verse has survived. Harmonically unadventurous; perhaps good for pedagogy.

2 Sonata Movements for Piano in F major (1788 – 1790)

noreply@blogger.com (Unknown) — Mon, 24 Aug 2009 15:21:00 +0000

Biamonti 21, WoO 50, Hess 53
Written for Beethoven's friend Franz Gerhard Wegeler, Biamonti 21 consists of a brisk opening movement for piano and a fragmentary allegretto. It took me some time to get my fingers around this awkward first movement, but after doing so, it became rather fun to play. The phrases aren't what you'd expect, and the Alberti bass plays some tricks on you as well - Beethoven puts in a little countermelody at some point. The second sonata movement is a tender pastoral in 3/4. Published in the Ninth volume of the Hess addenda.

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Piece for Piano: arrangement of Chr.F.D.Schubart's "Kaplied" by Beethoven (between 1788-1790)

noreply@blogger.com (Unknown) — Mon, 27 Jul 2009 14:09:00 +0000

Biamonti 20, Hess 63
About as minor as you can get. This is a reduction and fingering of a small lied of the blasphemous Christian Firedrich Daniel Schubart. The text of the work, written while Schubart was in prison, protests the sale of German citizens to foreign armies. For Beethoven scholars, this work holds a special interest apparently because Beethoven supplied his own fingering.
The folks at Unheard Beethoven have transcribed it for midi.

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Beethovenhaus

Trio for Piano, Flute & Bassoon in G major (1786? – 1790?)

noreply@blogger.com (Unknown) — Sat, 25 Jul 2009 14:08:00 +0000

Biamonti 19, WoO 37
I guess flute, bassoon and piano trios aren't so numerous on the ground and so this may get performed quite a bit, but as they say, "To what end?" Beethoven provides us with a relatively pleasant piece, which, like an old uncle who tells a story that is just too long, old and tiring and wears out its welcome, encouraging you to hurry off somewhere even if you are enjoying it somewhat. The last movement, a theme and variations, is that way. It keeps going in relatively predictable ways. The first movement has some extension and alteration in the recap, which is worth noting. Written for the von Westerholt family in Bonn, whose members played these instruments and the bassoon part is high - often above middle C - apparently Beethoven wrote many other works for them, but they were destroyed in a fire.

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Cantata: "Kantate auf die Erhebung Leopold II zur Kaiserwürde" (1790)

noreply@blogger.com (Unknown) — Fri, 24 Jul 2009 14:08:00 +0000

Biamonti 18, WoO 88
Six months after the death of Joseph II, Beethoven was asked to compose this work on the Accession of Leopold II. The result is a rather amazing and, it seems, important work, particularly in the context of, of all things, the great Ninth Symphony. The keen listener will note several similarities: the "Sturzt neider Millionen" of the final choral exhortation, set in unision; the long held high notes in the Soprano, some imitation, but he doesn't know fugue yet, the quick string lines, all of which speak to a particular voice that is related to the voice of the composer of the Ninth.
The opening movement, is particularly interesting with its odd tempo changes leading up to the operatic moment in which the clouds part to reveal Leopold - this is something to behold: it begins like Handel’s great Zadok the Priest and then becomes something altogether different. The crazy soprano aria that reaches an almost comical level of virtuosity and with its equally comically virtuosic flute and cello parts - perhaps in reference to the Prussian rulers Frederick the Great (who played the flute) and Frederick Wilhelm (who played the cello) - Leopold and Joseph were said to be harpsichord players. All things considered, worth a listen. But again seek out Matthew Best's recording.
Recommended.

Cantata: "Trauerkantate auf den Tod Joseph II" (on the Death of Joseph II) (1790)

noreply@blogger.com (Unknown) — Thu, 23 Jul 2009 14:07:00 +0000

Biamonti 17, WoO 87
Written on the death of King Joseph, to the words of Severn Avedonk, this is something special, a rich eloquent statement. The opening chorus, which returns to close the work, is a deep ombra with long keening choral moments interspersed with individual utterances from the soloists and bold richly ornamented string lines - immediately the work takes on a high-class sheen while remaining emotional. The baritone rage aria is shockingly powerful, crass sforzandos and sharp staccatos in a rhythmically inventive setting. I'm impressed by the way that there is a "laying it out on the line" in the beginnings of these arias, it is as if the openings take the customary I-V-V-I and switch it into the world of the baroque with a statement of the idea of the aria - Joseph is dead - the voice entry then becomes part of an introduction. The soprano aria is elegant and peaceful. Some flaws perhaps, where Beethoven isn't quite sure how to develop, see for instance the line "Joseph, der vater unsterblicher thaten" in the opening chorus, in later works he would use fugal technique to ramp up the tension. But this is nitpicking, it is a remarkably successful work that deserves to be better known. Extra kudos on the recording I heard with the Corydon Singers and Orchestra under Matthew Best, which is far better than that of the Estonian Philharmonic Chamber Choir found in the Brilliant Classics complete edition.
Recommended

Unknown Part for Cello (1788)

noreply@blogger.com (Unknown) — Wed, 22 Jul 2009 14:07:00 +0000

Biamonti 16

It is suggested that this is a cadenza from the Leopold cantata (Biamonti 18): it is nothing special, some figuration, some compound melody, an arpeggiation and a trill ending. It was probably written by Beethoven
The good folk at Unheard Beethoven have created a midi version of this fragment.

Song: "Der Arme Componist" (The Poor Composer) (1788)

noreply@blogger.com (Unknown) — Tue, 21 Jul 2009 14:07:00 +0000

Biamonti 15
A rage aria over the difficulties of composing, found in the margin of a Bonn miscellany which also includes Biamonti 16. "Each note costs me twenty sweat drops"
The good folk at Unheard Beethoven have created a midi version of the song.

Song in F minor: "Elegie auf den Tod eines Pudels"; "Stirb immerhin, es welken ja so viele der Freuden" (c. 1787)

noreply@blogger.com (Unknown) — Mon, 20 Jul 2009 14:06:00 +0000

Biamonti 14, WoO 110
A work to add to the expanding list of dog-death songs along with that very early Ives song. Works like this encourages one to review the oft-argued contention that emotion brings forth music. It is multiple verses in the minor, followed by a verse in the major. Each verse takes two stanzas of the poem and sets them as an ABA. The verse in the major is a variant of that of the minor. From this the curious musicologist could write an article on the question of Beethoven's belief in the existence of poodle heaven.

Song in C major: "Trinklied (beim Abschied zu singen)"; "Erhebt das Glas mit froher Hand" (c. 1787)

noreply@blogger.com (Unknown) — Sun, 19 Jul 2009 14:06:00 +0000

Biamonti 13, WoO 109

A charming pubtune fully in volkstumliche style. This four-square folk style would eventually lead to Ode to Joy theme of the Ninth Symphony, placing it solidly in the Trinklied camp. A chorus enters at the end of each verse to give a rousing ovation to the tenor's admonition.

Piano Quartet in C major (1785)

noreply@blogger.com (Unknown) — Sat, 18 Jul 2009 14:05:00 +0000

Biamonti 12, WoO 36, #3
I can't actually come up with very much worthwhile to say about this, the third of the WoO 36 Piano Quartets. On the whole, it has no particularly special moments,. The Adagio features a particularly beautiful melody, which unfortunately Beethoven buries in ornamentation. As a consequence, the melody never really gets the time to speak. Beethoven would return to some of these moments in his first published set of Piano Sonatas.

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Beethovenhaus

Piano Quartet in D major (1785)

noreply@blogger.com (Unknown) — Fri, 17 Jul 2009 14:04:00 +0000

Biamonti 12, WoO 36, #2
I didn't find anything particularly memorable or interesting about this Piano Quartet, the second of the three WoO 36 quartets. It does have some special moments a la Schumann at the ends of some of its movements, notably the pizzicati at the end of the second movement, but that's all that stands out from the generally pedestrian. The Rondo seems more assured, but it is ridiculous to make a statement like that at this stage in the boy's career.

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A Brief Delay

noreply@blogger.com (Unknown) — Mon, 22 Jun 2009 18:34:00 +0000

Apologies on the dearth of postings lately. I've been in the process of moving and the blog has suffered. New posts should begin appearing later in the week.

Piano Quartet in E flat major (1785)

noreply@blogger.com (Unknown) — Fri, 05 Jun 2009 14:03:00 +0000

Biamonti 12, WoO 36, #1
the Piano Quartet was not a particularly well-known genre in the early years of Beethoven's life, nor was the key of Eb-minor, owing to its difficulty for performers. Nonetheless, this didn't particularly stop Beethoven from writing this set of three early piano quartets, some say biting into the combination before even Mozart did so.
This first quartet, in two or three movement (the first leads attacca into the second), is a mixed bag. After a long and very satisfying Adagio in the singing style, a bold Allegro follows; the symphonic fragments of Hess 298 appear. Its propulsive energy is a result no doubt of its syncopated six-measure opening phrase as it is of its use of the Mannheim Rocket figuration (and what I'll call the Mannheim crash - a reverse Mannheim Rocket after the repeat sign). I'd be remiss not to add the oft-cited remark that the structure and harmonic goals of this work and the others of this collection owe a direct debt to Mozart's Sonatas for Violin and Piano; here K. 379.
The second half of this quartet - a Theme and Variations is utterly pedestrian.

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