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Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – Opus 9, No. 1: A Gem Trio Dedicated to an Irishman Who Served in the Russian Army!

Beethoven’s Opus 9 is a delightful set of three string trios, deserving of broader popularity than they enjoy today. They were dedicated to one of his early patrons, Count Johann George von Browne, the son of an Irish soldier of fortune who had risen to the rank of major general in the Russian army. This one, Op. 9, no. 1, was written in 1798. Here is a riveting performance of the Opus 9 no. 1 from the Camerata Pacifica. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Spark of Joy – Opus 3, his first trio, reveals echoes of Mozart’s Divertimento K. 563

Beethoven’s earliest chamber works were composed for string trio (violin, viola, and cello). During the 1790s he published five string trios and the Opus 8 Serenade before abandoning the genre in favor of other combinations –  notably including the string quartet, and sonatas for piano and one other instrument. His first trio, known as Opus 3, takes as its model Mozart’s Divertimento K. 563 – both consist of six movements, and are composed in the key of E-flat – but even in his earliest works Beethoven is no imitator, but imbues each work with his unique creative spirit. Here is the Opus 3 with full score, performed by the Grumiaux Trio. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – Beethoven’s contribution to a Dialogue of Cultures: his “Spanish Songs”

George Thomson was an Edinburgh-based publisher and collector of folk music, who commissioned classical arrangements of traditional folk melodies from composers such as Pleyel, Kozeluch, Weber, and Haydn. Beethoven, a passionate believer in the brotherhood of man, wholeheartedly took up the project, and between 1809 and 1820 contributed 179 compositions, the majority based on folk songs from the British Isles. Tucked among these, however, is a small collection, “23 songs of various nationalities” (WoO 158a), with melodies from all over Europe – from Ukraine to Italy to the Iberian Peninsula.
The Catalan soprano Monserrat Alavedra sings Beethoven’s “Spanish Songs” from this collection in both Spanish and German. (Unfortunately, no English translations are available.) [Notes by Margaret Scialdone.]


Uzbek President Evokes Central and South Asia’s Historic Contributions to Humanity to Spur Its Development Today

Uzbek President Evokes Central and South Asia’s Historic Contributions to Humanity to Spur Its Development Today

July 27, 2021 (EIRNS)—Addressing the July 15th-16th Central and South Asia Regional Connectivity conference in Tashkent, which his government organized, Uzbek President Shavkat Mirziyoyev proposed that this region of almost two billion people conceive of its development today as a return to its role as a historic center of “active dialogue between peoples and civilizations … the crossroads of the Great Silk Road, Central and South Asia.”

No official translation of the speech into English is available yet, but the machine-translation of it quoted here, while not precise, captures the spirit of his call. He invoked names that every schoolchild on the globe should be familiar with some day.

Miziyoyev spoke of the great civilizations which arose in this region, going back as early as the third and second millennia BC, which “have left a deep mark on human history.” He reminded his audience, that “thanks to the spread of Islam, Buddhism, Hinduism and the unique traditions of different peoples in Central and South Asia, a great ethnocultural commonality has been established, and a rich and colorful culture of the East has been formed.”

The resulting strong ties between our peoples “ensured rapid intellectual and enlightenment growth… which brought to the world many more mature scholars and thinkers, such as Charaka and Sushruta, Brahmagupta and Al-Khwarizmi, Al-Farghani and Al-Farabi, Al-Beruni, Ibn Sina. They marked the development of human science and philosophical thought centuries ago,” he said. He then named some of the region’s outstanding representatives of literature who “with their immortal works … have made a great contribution to the development of the principles of peace, freedom and humanity, the ideas of friendship and mutual trust among the peoples of the world.”

“Unfortunately,” he added, “due to the historical situation, in the nineteenth century, the relations between the two neighboring regions were severed,” creating barriers between Central and South Asia. The end of that era of cooperation and mutual understanding is responsible for “the current lack of effective cross-border routes, poor development of trade and economic relations, as well as the underutilization of cultural and humanitarian relations.”

“It is time to harmonize the existing intellectual potential and our joint efforts, given the great historical, scientific, cultural and educational heritage of our peoples and the ability of our economies to complement each other,” he urged. “We are convinced that interdependence, cooperation, dialogue and, most importantly, the consistent and sustainable development of trust, will become a driving force for increasing the living standards and prosperity of the people of our regions.”

It was within that context, then, that he proposed specific ideas for regional cooperation, centered on logistics infrastructure and rail lines, and within that, aiding Afghanistan to find peace at this “important turning point in its recent history.”


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – Op. 4, Wind Quintet

Despite its high opus number (103), the Wind Octet was composed in 1792 when Beethoven was still in service to the Elector in Bonn. The Elector, Maximilian Franz, was a great lover of Tafelmusik – background music to be played at dinner – and maintained an excellent wind band. After arriving in Vienna, Beethoven revised the piece as a string quintet, published in 1796 as Opus 4. It’s a most enjoyable piece, featuring some furious virtuoso writing for the horns, especially in the fourth movement. This performance is from the University of Michigan Symphony Band, conducted by Michael Haithcock. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Almost ninety years after the publication of Beethoven’s Opus 38 Clarinet Trio, Johannes Brahms composed his two sonatas for clarinet and piano. Brahms had already decided to retire from composing, but after hearing the clarinetist Richard Mühlfeld play Mozart’s Clarinet Quintet, he was captivated by the beautiful tone of the instrument. He and Mühlfeld became close friends, and Brahms wrote several pieces for clarinet which were to be among his last compositions.
The following performance of Brahms’ first Clarinet Sonata is followed by his first piano quartet. {Notes by Margaret Scialdone.} https://youtu.be/w8_SwyOl40A?t=418


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy — Op. 65, Ah Perfido!, which will it be: rage or enduring love?

In his youth, Beethoven had been steeped in the Italian vocal tradition, often playing the continuo for visiting opera troupes and composing variations on popular operatic numbers. The concert aria “Ah, Perfido!” (Oh, Deceiver!), composed shortly after his arrival in Vienna, remains a favorite among sopranos today. It relates the anguish of Deidamia, Princess of Scyros, whom Achilles has abandoned to fight the Trojan War, leaving her pregnant and alone. Cheryl Studer’s performance eloquently expresses Deidamia’s emotional turmoil, alternating rage with enduring love. [Notes by Margaret Scialdone.]


Space Science – China-Russia Move Ahead

China-Russia Lunar Station To Be at South Pole, Will Start Unmanned

March 15 (EIRNS)—Xinhua published a report March 14 on the lunar research station planned by the China-Russia MOU signed March 9, which it characterized as “the fourth phase of [China’s] lunar exploration program, while implying it would be a prelude to, rather than part of, manned exploration of the lunar surface. Wu [Weiren] did say, though, that manned lunar missions are on China’s agenda”—the highest-level scientist to give that definite an answer to date. Xinhua took its coverage from an interview by China Space News with Wu Weiren, the chief designer of China’s lunar exploration program, member of the Academy of Engineering.

Three missions were named: lunar sample return by Chang’e-6, resource survey of the South Pole by Chang’e-7, and technology testing by Chang’e-8 in preparation for the construction of the station. These robotic landings are planned to take place in the next few years. Wu said that in the five-year period 2021-25, China will keep developing heavy launch vehicles and “achieve breakthroughs in rocket body sizes and engine thrust to support deep space exploration, in which the Moon is included. The implication is that once the three missions above are implemented, China will be engaged in studying manned landing at the South Pole “for a long-term lunar stay” at the site of the research station. The South Pole, which could have more than 180 consecutive days of sunlight, “would be highly convenient for astronauts carrying out scientific research,” Xinhua reported.

Wu is quoted: “If the lunar research station project can be successfully implemented, China will not be far away from achieving manned landing on the Moon.” And his message to young people was, “In the vast universe, I hope that more young people will dream, explore, and fight.”


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – Wind Quintet, Op. 16

Beethoven composed his delectable Opus 16 Wind Quintet in 1796, when he was riding a wave of public acclaim as a keyboard virtuoso and improviser. It’s likely that he modeled it on Mozart’s Quintet in E-flat, K. 452, also scored for piano, oboe, clarinet, bassoon, and horn, which had been composed twelve years earlier.
There’s a delightful anecdote related by Ferdinand Ries about an 1804 performance of the Quintet, at which the ever-impish Beethoven suddenly began to improvise on the Rondo theme, amusing himself and the audience but quite annoying the other musicians, as they were constantly raising their instruments when they expected to resume playing, only to have to put them down again. When Beethoven finally returned to the Rondo, the audience was transported with delight.
This is a superb performance by Klára Würtz and the Netherlands Wind Soloists. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – A Call for Creatures of Prometheus.

Ballet  was a very popular entertainment in 18th century Vienna, and Beethoven composed his first ballet, the “Ritterballet” (Dance of the Knights) in 1791, while still in Bonn. Ten years later, he collaborated with the noted dancer and composer Salvatore Viganò on a ballet with mime, called “Creatures of Prometheus”.

A handbill for the first performance in the Burgtheater in Vienna on 28 March 1801 provides the following synopsis: “This allegorical ballet is based on the myth of Prometheus. The Greek philosophers who knew him tell the story in the following manner: they depict Prometheus as a lofty spirit who, finding the human beings of his time in a state of ignorance, refined them through art and knowledge and gave them laws of right conduct. In accordance with this source, the ballet presents two animate statues who, by the power of harmony, are made susceptible to all the passions of human existence. Prometheus takes them to Parnassus to receive instruction from Apollo, god of the arts, who commands Amphion, Arion and Orpheus to teach them music, [and] Melpomene and Thalia [to teach them] tragedy and comedy. Terpsichore aids Pan who introduces them to the Pastoral Dance which he has invented, and from Bacchus they learn his invention – the Heroic Dance.”

In addition to the overture, Beethoven composed 16 numbers. It was well received by the audience, with 21 further performances, but with one critic opining that “his writing here is too learned for a ballet”. Today, only the overture is regularly heard. The following performance is arranged as “a concert suite in four movements with overture”, omitting some of the numbers. [Notes by Margaret Scialdone.]


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