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Daily Beethoven — Sparks of Joy

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Beethoven: Sparks of Joy – No.1

November 2, 2020by Lynne Speed in Daily Beethoven — Sparks of Joy, General tagged ,

Beethoven Piano Sonata “Pathetique” in C minor
Notes by Fred Haight

Beethoven’s Pathetique Sonata, in 3-PARTS (the second of the C-Minor Series)

Part One: Why is this work called “Pathetic”?

Beethoven’s electrifying Piano Sonata #8 in C minor, op.13, known as the “Pathetique”, was composed in 1798, when he was 28 years of age. It shook the musical world. Nothing like it had ever been heard. Today, we often listen passively, like it is old hat. Put yourself in the shoes of someone hearing it for the first time, and imagine the shock they felt.

Though it was his publisher who chose to call it “Grand Sonate Pathetique”, Beethoven approved of the title! Why would he approve of his work being called pathetic? Perhaps the word meant something different back then than it means today. Throughout this series, we will identify how the kindred spirits of Beethoven and the great poet Friedrich Schiller collaborated, though they never met. We have to consult Schiller in order to understand what pathetic actually means.

In his essay, On the Pathetic Schiller wrote:

“Representation of suffering (pathos)-as mere suffering-is never the end of art, but, as a means to that end, it is extremely important. The ultimate end of art is the representation of the super-sensuous, and the tragic art in particular effects this…in that it makes sensuous, our moral independence from the laws of nature, in a state of emotion.

“Only the resistance, which it expresses to the power of the emotions, makes the free principle in us recognizable; that resistance, however, can be estimated only according to the strength of the attack…nature must have first demonstrated… its entire might before our eyes..

“It is not art, to become master of feelings, which only lightly and fleetingly sweep the surface of the soul. But, to retain one’s mental freedom in a storm, which arouses all of sensuous nature, belongs to a capacity of resisting that is above all natural power; that is infinitely sublime.”

Thus, the Pathetique sonata, is not born out of personal suffering, nor does it wish to make us feel sorry for the individual who suffers—a feeling which, however heartfelt, cannot change anything. Rather, it demonstrates to us the potential to bring about change, by summoning something deep within, that rallies us to: “take arms against a sea of troubles, and by opposing, end them.”

We provide a recording of the first movement, by the late Claudio Arrau, who resisted an overly-rushed tempo. We will discuss the scientific aspect, in the next episode.

Stay tuned.

Beethoven: Sparks of Joy

February 2, 2021by Mary Jane Freeman in Daily Beethoven — Sparks of Joy, Music updates

Mozart, Beethoven: A musical dialogue

Notes by Margaret Scialdone, In 1798, Beethoven turned again to Mozart’s opera “The Magic Flute”, this time composing twelve variations on Papageno’s aria, “Ein Madchen oder Weibchen” in which the ridiculous bird-catcher expresses his desperation for a mate. The translation of the words to the Ein Madchen oder Weibchen are:


A maiden or a little wife Is what Papageno wants! Oh, such a sweet dove Would be bliss for me.
Then I’d eat and drink with relish, Then I’d feel like a prince, Enjoy life in my wisdom, And be as if in Elysium.
Ah, can I find no-one among the lovely girls who likes me? Let just one come to my aid, Or I’ll truly die of grief.
If none will offer me love, Then the fire must consume me! But just one kiss, And I’ll be better again.

Mozart’s “Ein Madchen” (performer unidentified)

Beethoven’s’ 12 variations, performed by Mstislav Rostropovich, Vasso Devetzi.

Schiller Institute Website Inaugurates Beethoven Celebration Postings

November 2, 2020by Lynne Speed in Daily Beethoven — Sparks of Joy, General tagged , ,

December 16, 2020 marks the 250th birthday of Ludwig van Beethoven.  As part  of the international celebrations this year and next year,  in honor of Beethoven, the Schiller Institute  is happy  to inaugurate a new feature on our website. We will regularly post selections of Beethoven’s music with short discussions of the pieces. 

Friedrich Schiller’s beautiful words from his poem “Ode To Joy” are magnificently memorialized in the last movement of  Beethoven’s  9th Symphony. 

Freude, schöner Götterfunken,
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, den Heiligtum.
Deine Zauber binden wieder,
Was die Mode streng geteilt,
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.

Seid umschlungen Millionen!
Diesen Kuß der ganzen Welt!
Brüder – überm Sternenzelt
Muß ein lieber Vater wohnen. 

English Translation

Joy, thou beauteous godly lightning,
Daughter of Elysium,
Fire drunken we are ent’ring
Heavenly, thy holy home!
Thy enchantments bind together,
What did custom stern divide,
Every man becomes a brother,
Where thy gentle wings abide.

Chorus.
Be embrac’d, ye millions yonder!
Take this kiss throughout the world!
Brothers—o’er the stars unfurl’d
Must reside a loving Father.

Schiller’s words and Beethoven’s music speak to us even more passionately and powerfully today, in these times of pandemic disease,  famine, economic crisis social unrest, and the threat of war.  Let us take Schiller and Beethoven to our hearts and minds and forge a new paradigm of peace and development for all humanity.  Listen, and let Beethoven instruct us!

Beethoven: Sparks of Joy — Mozart, Beethoven dialogue continued

January 31, 2021by Mary Jane Freeman in Daily Beethoven — Sparks of Joy, Music updates

Mozart, Beethoven dialogue continued

Notes by Margaret Scialdone. We continue the Mozart-Beethoven dialogue with Beethoven’s 7 Variations on “Bei Männern, welche Liebe Fühlen” (‘A man who can feel love must have a good heart’), the beautiful duet sung by Pamina and Papageno in the first act of “The Magic Flute”.  Mozart’s opera employs fantastical characters and imagery to bring across the powerful message of the power of love over evil. In the duet, Pamina comforts the ridiculous bird-man Papageno, who is lamenting his lack of a soulmate. Beethoven’s variations,  composed 10 years after Mozart’s untimely death, treat Mozart’s theme with great charm and wit, developing a full palate of emotional expression.

The duet is sung here by Kiri Te Kanawa and Thomas Allen.

Beethoven’s variations are performed here by Miklós Perényi and András Schiff.

Beethoven: Sparks of Joy — Mozart-Beethoven, a musical dialogue

January 29, 2021by Mary Jane Freeman in Daily Beethoven — Sparks of Joy, Music updates

Mozart – Beethoven a musical dialogue over time.

Notes by Margaret Scialdone. Mozart’s opera Don Giovanni, the story of a dissolute lecher who is finally dragged to Hell, provided a rich source of material for Beethoven. In the opening scene, Don Giovanni kills the Commendatore, who has rushed to avenge the rape of his daughter, Donna Anna. The dying Commendatore, Don Giovanni, and his servant Leporello sing a trio which closes with the famous theme from Beethoven’s “Moonlight” sonata at the moment of the Commendatore’s death.

Below we have three demonstrations: first, a five-minute video by Daniel Barenboim in which he demonstrates the connection; second, the relevant portion of the opera (from a 1954 performance conducted by Wilhelm Furtwängler); and third,  the first movement of the Moonlight Sonata (Opus 14 number 2) played by Claudio Arrau.

Beethoven: Sparks of Joy — Mozart’s birthday; Beethoven’s regard for him

January 27, 2021by Mary Jane Freeman in Daily Beethoven — Sparks of Joy, Music updates

Mozart’s birthday; Beethoven’s regard for him.

Notes by Margaret Scialdone. ~ As January 27th is the 265th birthday of Wolfgang Amadeus Mozart,  we’ll step away from the sonatas for a few days and allow Beethoven to pay homage to his great predecessor. The teenaged Beethoven first went to Vienna in 1787, and it’s believed that he met with Mozart who agreed to take him on as a pupil. However, Beethoven immediately received news that his mother was critically ill, so he returned to Bonn after five days. When he finally came back to Vienna in 1792, Mozart had already died, at the age of 35. Beethoven then took up lessons from Haydn, which were unsatisfactory because Haydn was busy with concert tours, so he ended up studying counterpoint with Albrechtsburger and composition with Saliieri.

Beethoven had obviously studied every note Mozart had ever written, and his sketchbooks and compositions are full of Mozartean references. However, we’ll concentrate right now on one of Beethoven’s favorite genres – variations – composed on themes from Mozart’s operas.
In “The Marriage of Figaro”, the Figaro, who’s about to get married, learns that the count whom he serves intends to exercise the “Lord’s right” – to sleep with the bride on her wedding night. Furious, he announces in the aria “Se vuol ballare” his determination to thwart the Count’s plan.

Here you will find Mozart’s aria is sung by Erwin Schrott, and Beethoven’s variations, WoO 40, are performed by Jiyoung Park and Hue-am Park.

Beethoven: Sparks of Joy — The Diabelli Variations

January 27, 2021by David Dobrodt in Daily Beethoven — Sparks of Joy, General

We continue the commemoration of Mozart’s Birthday in the Beethoven Year with one of the last piano works Beethoven ever composed: the Diabelli Variations. The publisher Anton Diabelli wrote a simple waltz and circulated it to 13 composers, requesting a single variation from each. Beethoven initially scoffed at the idea, but then produced a mammoth set of 32 variations in which he took the trivial theme and subjected it to the most through-going transformations imaginable. 

Variation number 22 is easily recognized as the opening aria in Mozart’s opera Don Giovanni in which the servant Leporello laments his lot in life(from a 1954 performance conducted by  Wilelm Furtwangler – you can stop listening after about two minutes, or continue to watch the whole opera).

Here is Sviatoslav Richter playing Diabelli Variation number 22.

Finally, listen to the entire set of Beethoven variations, played here by Alfred Brendel, and  you will hear how Beethoven takes Mozart’s theme and weaves it into the harmonic structure of Diabelli’s waltz. Ingenious! 

Beethoven: Sparks of Joy — Don Giovanni and the “Moonlight” Sonata

January 26, 2021by David Dobrodt in Daily Beethoven — Sparks of Joy, General

Mozart’s opera Don Giovanni, the story of a dissolute lecher who is finally dragged to Hell, provided a rich source of material for Beethoven. In the opening scene, Don Giovanni kills the Commendatore, who has rushed to avenge the rape of his daughter, Donna Anna. The dying Commendatore, Don Giovanni, and his servant Leporello sing a trio which closes with the famous theme from Beethoven’s “Moonlight” sonata at the moment of the Commendatore’s death.

Here’s a five-minute video by Daniel Barenboim in which he demonstrates the connection.

And the relevant portion of the opera (from a 1954 performance conducted by Wilhelm Furtwängler.

Finally, the first movement of the Moonlight Sonata (Opus 14 number 2) played by Claudio Arrau.

Beethoven: Sparks of Joy — Piano Sonata No. 27

January 26, 2021by Mary Jane Freeman in Daily Beethoven — Sparks of Joy, General

Notes by Margaret Scialdone

Both of the Opus 27 sonatas are titled “Sonata quasi una Fantasia” (‘like a fantasy’). The first is frequently neglected in favor of its famous sibling, the so-called “Moonlight”, but everyone who has ever played it loves it. It was dedicated to his student Princess Josephine von Liechtenstein, whose husband maintained an orchestra and sponsored concerts in his palace.

This beautiful performance of Opus 27 no. 1 is by the Croatian pianist Aljoša Jurinić:

Beethoven: Sparks of Joy — Piano Sonata No. 12

January 22, 2021by Mary Jane Freeman in Daily Beethoven — Sparks of Joy, General

Notes by Margaret Scialdone

In a radical departure from the sonata form, Beethoven opens his Opus 26 piano sonata with a theme and variations followed by a scherzo, and then the famous “Funeral March on the Death of a Hero” (an orchestral arrangement of which was played at Beethoven’s funeral). After his death, this became one of the most popular of Beethoven’s sonatas. Liszt played it at most of his recitals, and Chopin loved this sonata and likely used it as a model for his own Funeral March.

Here is an exquisite performance by Daniel Barenboim.

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