One might suspect that the Opus 79 sonatina was actually composed much earlier than its publication date of 1809, but Beethoven’s sketchbooks show that it is a contemporary of such works as the Emperor Concerto and the Harp Quartet. This miniature sonata is also known as the “Cuckoo” for the repeated chirping motive in the first movement, which is followed by a plaintive barcarolle and a lively finale. It’s beautifully interpreted here by the Polish pianist Marta Czech. [Notes by Margaret Scialdone.]
Beethoven’s “Shakespeare” sonata, “I scorn to change my state with kings;” the great Appassionata.
Opus 57 – the “Appassionata” – one of the greatest works of Beethoven’s so-called “heroic” period, provides the backdrop for the following account: In the late autumn of 1806, as Beethoven was putting the finishing touches to this sonata, his patron Prince Lichnowski ordered him to perform for officers of the occupying French Army. Beethoven refused, departed in the middle of a furious storm, and later wrote to Lichnowski, “Prince! What you are, you are by circumstance and birth. What I am, I am through myself. Of princes there have and will be thousands. Of Beethovens there is only one!” The manuscript for the Appassionata bears the stains from that rainstorm. This performance by Murray Perahia is the best I’ve heard. [Notes by Margaret Scialdone.]
One of Beethoven’s “hidden” treasures is found in, Op. 54.
Beethoven’s 22nd piano sonata, Opus 54, is like a buried treasure, appearing between the more famous Waldstein (Op. 53) and Appassionata (Op. 57). Its formidable technical and interpretive challenges also discourage many players from making the attempt. Here is an excellent performance by the Norwegian pianist Leif Ove Andsnes. [Notes by Margaret Scialdone.]
Another from Beethoven’s “new path”, the “Waldstein” sonata, Opus 53.
We come to the “Waldstein” sonata, Opus 53, dedicated to one of Beethoven’s earliest patrons. When Beethoven departed Bonn for Vienna, it was Count von Waldstein, Privy Councillor to the Archbishop-Elector of Bonn, who forecast that Beethoven would “receive the spirit of Mozart from the hands of Haydn”. The sonata itself was described by one reviewer as being “full of strange whims and very difficult to perform”. A wonderful work of art, it exemplifies the “new path” in composition that Beethoven had determined to blaze. It’s performed here by Lucas Jussen. [Notes by Margaret Scialdone.]
Beethoven Opus 119 Bagatelles Notes by Margaret Scialdone
The Opus 119 Bagatelles appeared in London in 1823 as “Trifles for the Piano Forte, Consisting of Eleven pleasing Pieces Composed in Various Styles by L. Van Beethoven”. They are quite accessible to non-celebrity but accomplished pianists, and it’s possible to hear brilliant interpretations by people you might not have heard of. A good example is this performance by Helen Ryba, who has a piano studio in Woodbridge, New Jersey.
A Presidents Day tribute to G. Washington and A. Lincoln both of whom loved music: Beethoven’s Kreutzer sonata for violin and piano played by a master.
The Kreutzer Sonata, Beethoven’s ninth for violin and piano, is sometimes referred to as “the other Ninth”. The story of its dedication is famous: The half-African violinist George Bridgetower came to Vienna, where he and Beethoven immediately hit it off. Beethoven composed this sonata for him and dedicated it accordingly. Unfortunately, during the celebration of its successful premiere, Bridgetower impugned the morals of a woman whom Beethoven admired, leading Beethoven to rip up the title page and dedicate the sonata instead to the violinist Rodolphe Kreutzer, who actually disliked the work and never performed it! At the age of 82, the great violinist Nathan Milstein performed the Kreutzer sonata with pianist Georges Pludermacher, in what was to become his last public performance. A short bio of Milstein precedes the sonata.[Notes by Margaret Scialdone.]
Beethoven’s “DerErlkönig” Notes by Margaret Scialdone
Goethe’s poem “Der Erlkönig” tells the story of a boy riding home on horseback in his father’s arms. He is frightened when he hears the seductive voice of the Erl King, a powerful and creepy supernatural being. The Erl King attempts to lure the child into joining him, promising amusement, rich clothes and the attentions of his daughters. He tells his father, who assures the child that it’s just his imagination. Suddenly the boy shrieks that the Erl king has done him harm! The father breaks into a gallop, and reaches home only to find that the boy is dead.
Der Erlkonig was set to music by several composers, Schubert’s version being the best known. Beethoven’s setting heard here, is WoO 131. Can you hear the four distinct voices?
Who rides so late through the night and wind? It is the father with his child. He has the boy in his arms; he holds him safely, he keeps him warm.
‘My son, why do you hide your face in fear?’
‘Father, can you not see the Erlking? The Erlking with his crown and tail?’
‘My son, it is a streak of mist.’
‘Sweet child, come with me. I’ll play wonderful games with you. Many a pretty flower grows on the shore; my mother has many a golden robe.’
‘Father, father, do you not hear what the Erlking softly promises me?’
‘Calm, be calm, my child: the wind is rustling in the withered leaves.’
‘Won’t you come with me, my fine lad? My daughters shall wait upon you; my daughters lead the nightly dance, and will rock you, and dance, and sing you to sleep.’
‘Father, father, can you not see Erlking’s daughters there in the darkness?’
‘My son, my son, I can see clearly: it is the old grey willows gleaming.’
‘I love you, your fair form allures me, and if you don’t come willingly, I’ll use force.’
‘Father, father, now he’s seizing me! The Erlking has hurt me!’
The father shudders, he rides swiftly, he holds the moaning child in his arms; with one last effort he reaches home; the child lay dead in his arms.
Beethoven’s humor—“The Test of Kisses” Notes by Fred Haight
This song, “Prüfung des Küssens, WoO 89” (The Test of Kissing), was composed between 1790–1791, for Bonn’s Electoral singer, Joseph Lux. It is for a bass and orchestra. The author of the text is unknown, but this song, in the Italian opera buffa style, is skillfully orchestrated and full of humor.
The text tells of a “wise” mother who instructs her son that to kiss is a sin. The boy does not agree because he gets them free from Doris, and things seem to be fine. They may, however, lead to other woes.
The orchestration is through-composed. There is a surprising amount of variety in the work, including three tempo changes and a shift from 4/4 to 2/2 meter. The orchestra stands independent of the vocal area and doubling the singer only at particular moments such as cadences.
TEXT: Meine weise Mutter spricht Meine weise Mutter spricht: Küssen, Küssen, Kind! ist Sünde! Und ich armer Sünder finde, Doch das Ding so böse nicht.
Mord und Diebstahl, weiß ich wohl, Ist ein schreckliches Vergehen Aber, trotz, den will ich sehen, Der mich das beweisen soll.
Meine Küsse stehl’ ich nicht: Doris gibt von freien Stücken, Und ich seh’s an ihren Blicken, Daß ihr wenig Leid geschicht.
Oft begiebt es sich, daß wir Uns, vor Lust, die Lippen beißen: Aber soll das Morden heißen? Gott bewahre mich dafür!
Mutter! Mutter! Schmäherei! Sünd’ ist Küssen? Ist es eine; Nun, ich armer Sünder meine, Daß sie nicht zu lassen se
TRANSLATION: My wise mother speaks My wise mother says: Kissing, kissing, child, is a sin! Though I do not find the poor sinner As bad as the thing itself Murder and theft, I know Are terrible offenses But in spite of that I want to see It proven it to me.
I do not steal my kisses: Doris gives of her own free will, And I see it in her looks That she has little suffering.
It often happens that we Bite our lips with lust: But should that be called murder? God keep me from that!
Mother! Mother! Abuse! Sin is kissing? They are one; I mean, this poor sinner of mine, Should she even be allowed!
“Prüfung des Küssens” (“Examen de los besos”), aria para bajo y orquesta, WoO 89. L. van Beethoven
Beethoven : Creatures of Prometheus Notes by Margaret Scialdone
In 1801 the ballet master Salvatore Viganó was commanded to prepare a performance for Empress Maria Theresa. He chose the subject of Prometheus giving science and the arts to Mankind, and turned to Beethoven to compose a score for his libretto. “Creatures of Prometheus” is Beethoven’s only full-length ballet, with overture, introduction, 15 numbers, and a finale. As the original libretto has been lost, it’s no longer staged as a ballet.
In this 1960 performance, Charles Munch conducts the Boston Symphony orchestra in excerpts from Beethoven’s Opus 43, The Creatures of Prometheus.
We are eternally grateful to Beethoven’s brother Kaspar, who arranged for the publication, against the composer’s wishes, of the two “Leichte Sonaten” Opus 49. There is hardly a piano student who has not learned from study of these graceful pieces. We present here the Opus 49 number 2, Beethoven’s 20th piano sonata, complete with score (performer sadly unidentified). [Notes by Margaret Scialdone.]
