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Home , Anton Reicha, Daniel Steibelt, Johann Nepomuk Hummel, Josef Reicha, Piano quintet

concert program iv: Beethoven’s Friends

ANTON REICHA (1770–1836) July 27 and 29 in B-flat Major for and String , op. 89 (ca. 1820) Allegro Sunday, July 27, 6:00 p.m., The Center for Performing Arts at Andante ms Menlo-Atherton Minuetto: Allegro a Finale: Allegretto Tuesday, July 29, 8:00 p.m., Stent Family Hall, Menlo School Anthony McGill, clarinet; Nicolas Dautricourt, Arnaud Sussmann, ; Sunmi Chang, ; Keith Robinson,

LUDWIG VAN BEETHOVEN (1770–1827) Program Overview Quintet in E-flat Major for and Winds, op. 16 (1796) In the orbit of such a universal genius as Grave – Allegro ma non troppo Andante cantabile existed numerous native Eastern European who Rondo: Allegro ma non troppo likewise captured the attention of . , Gilbert Kalish, piano; Stephen Taylor, ; Anthony McGill, clarinet; Peter Kolkay, ; a Czech forebear to Antonín Dvořák and an intimate of Kevin Rivard, Beethoven’s from their teenage years, achieved considerable renown in his lifetime as a , theorist, and pedagog; Intermission his extensive catalog of solo, chamber, and orchestral music (1778–1837) reveals a composer of great originality in his own right. in d minor for Piano, Flute, Oboe, Horn, Viola, Cello, and Bass, op. 74 (1816) concert Progr concert Reicha’s Clarinet Quintet, a rarely heard gem of the literature, Allegro con spirito demonstrates a winning Classical sensibility and a keen melodic Minuetto o scherzo imagination worthy of his most prominent contemporaries. Andante con variazioni Finale: Vivace The prodigiously gifted Hungarian Johann Nepomuk Hummel Juho Pohjonen, piano; Sooyun Kim, flute; Stephen Taylor, oboe; Kevin Rivard, horn; Paul Neubauer, was also regarded in his lifetime as one of Europe’s greatest viola; Keith Robinson, cello; Scott Pingel, bass composers and arguably its finest . Though Beethoven’s emergence in Vienna eclipsed Hummel’s own ascent, the two would nevertheless maintain a close, if rivalrous, friendship. More importantly, not even Beethoven’s imposing shadow could blot out the brilliance of Hummel’s musical language, as encountered in his colorful Septet for Winds, Strings, and Piano.

SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals with gratitude for their generous support: July 27: Libby and Craig Heimark and also to Kathleen G. Henschel and John Dewes in honor of their wedding July 29: Dave and Judith Preves Anderson and also to Kris Klint

Ludwig van Beethoven playing the piano for friends. Albert Gräfle (1807–1889). Photogravure. Muller Collection/The New York Public Library for the Performing Arts

concert Programs *Bolded terms are definedintheglossary, which beginsonpage100. the work to aflourishing close. phrase. The lighthearted Allegretto like passages, thecello wails initsdeepregister at thecloseofeach dynamic range of the ensemble: while the clarinet plays gaudy, glissando- the second movement Andante. both the strings and the clarinet, which is delicately exploited further in before. Immediately noticeable isthe equalimportance Reicha gives to a return to theairyopeningtheme, muchfullerandmore energetic than arpeggiated accompaniment. A light, long-breathed development to theviolin,andclarinet andlower strings provide asonorously complex followed by a graceful eleven years, completed andpublishedcirca 1820. dates ofcomposition are unclear, thework was likely composed over Conservatoire andamemberofthe windensemble. Though the exact was intended for Jacques-Jules Bouffil,aprofessor ofclarinet at the works. fascinated with European .Like hisViennese counterparts, Reicha was moreover infusing strict Western withthefolkloric character ofCentral the genre. Reicha, however, adapted thenew mediumto hisown voice, Mozart’s Clarinet Quintet in A Major, K. the 581, first significant work in to debut these . Also while in Vienna, Reicha likely encountered it warranted the establishment ofanindependent wind ensemble simply 1820. By 1815, Reicha’s subscription series had become so popular that catalog oftwenty-four windquintets was composed between 1809and especially for hiscontribution to thewindquintet repertoire. Hisimpressive César Franck, , andHector Berlioz. in 1808 to teach at the Paris Conservatoire, where his students included to study andAlbrechtsberger withSalieri andreturned to Paris presented aperformance oftheopera at hispalace. Reicha remained in Lobkowicz, alongtimepatron ofHaydn andBeethoven, amongothers, 1801 inanattempt to promote hisrecent work, L’ouragan. Prince Maximilian composition whilefocusing onwritingopera, makingavisitto Vienna in uncle, Anton secretly beganto study composition. no doubtdueinpartto thisnew friendship. Against the wishesofhis in thebackofviolasection, anddeveloped aninterest incomposition, Josef conducted. There, Anton befriended Ludwigvan Beethoven, whosat as Second Flutist intheCourt oftheElector ofCologne , which young age, hemoved to Bonnwithhisuncle’s family in1885,takingapost , piano, andflute. Establishing himselfinmusicalcircles at avery the conductor andcellist JosefReicha, hebecameaccomplished onthe sought to furtherhismusicalstudies, andafter beingadopted by hisuncle, Born to anonmusicalfamily, Czech composer Anton Reicha eagerly A Six for Piano, op. 81(1810);SixWind Quintets, op. 91(1820) op. 62 (1808);Requiem (ca. 1809); no. 3inFMajor(1809); O P Composed: ca.1809– Quintet in (Born February 26, 1770, ; diedMay 28, 1836, Paris) ANTON Program Notes: Beethoven’s Friends ublished: 1820, Paris pproximate dura ther works from thisperiod:Sonata inAMajorfor V —Andrew Goldstein The opening The Quintet inB-flat for Clarinet andString Quartet, op. Reicha is most renowned asa prolific composer of wind music and In 1795, Reicha moved to Hamburg to teach harmony and

RE B -flat IC ; small fugal sections can be found throughout his HA M tion: 30minutes Allegro ajor for Clarinet and 1820 subject presented by the clarinet. The subject shifts begins withajovial statement by thestrings, The boisterous minuet employs thefull finale, withitsfugalpassages, carries S tring Quartet, op. 89 iolin andPiano, brings 89, 89, opsto drn hs ieie ad une fr in ad Winds and Piano for Quintet and (op. lifetime) his during composition popular most his far for by 20, (op. Sonata Septet the and the 17), (op. Piano 11), and Horn (op. Cello and Clarinet, Piano, for Trio the 87), (op. of pieces for wind instruments—the Trio for Two and English Horn reputation asacomposer duringhisearlyyears inVienna was aseries attractive andinfectious.” success, and youthful confidence gave him a buoyancy that was both Beethoven at thetimeas“a young giant exulting inhisstrength andhis the 1790s, butinhisbiography ofthecomposer, Peter Latham described and even sportingapowdered wig.This phaseofhislife didnotoutlast while, dressing in smart clothes, learning to dance (badly), buying a horse, to thearistocratic audience, Beethoven took ontheairofadandyfor a in performance at thesoirées intheirelegant city palaces. Incatering luminaries, hebecamealltherage amongthegentry, whoexhibited him Daniel Steibelt andJosephWölffl, two ofthetown’s noted keyboard and then captivated those who heard him. When he bested in competition unconventional quality of hisplaying andhis personality first intrigued he gained his first fame among the Viennese. The untamed, passionate, chamber ensembles,andwindgroups. Itwas asapianist, however, that for histutors, hecontinued to compose, producing works for solopiano, WhileSalieri. Beethoven practiced fugal exercises andsetting Italiantexts other teachers followed in short order—Schenk, Albrechtsberger, Förster, Beethoven was too bullish—and theirassociation soonbroke off. Several in 1792, butthetwo haddifficulty getting along—Haydn was too busy, became acounterpoint pupilofHaydn’s immediately after hisarrival late composer asastudent ifhecameto seehim.Beethoven, therefore, on avisitto Bonnearlierintheyear andpromised to take theyoung venerable JosephHaydn, whohadheard oneofBeethoven’s cantatas fronts. Initial encouragement for the Viennese junket came from the in favor ofthestimulating artistic atmosphere ofVienna. when hisfather diedinDecember, hesevered for goodhistieswithBonn consumed any thoughts of returning to the provincial city of his birth, and the Despite prestige). Elector’s Elector’s patronage, however, Beethoven’s the professional ambitions quickly (and career musician’s young the Habsburg imperialcity, thenthemusicalcapitalofEurope, to helpfurther Franz, theElector ofBonn,hishometown, underwrote thetripto the and theaccession ofLeopold II,andthescore for aballet that Maximilian numerous chamber works, cantatas on the death of Emperor Joseph II genius hehadalready demonstrated inasizeable amount ofpianomusic, bursting withtalent andpromise, arrived inVienna. Soundeniablewas the In November 1792, thetwenty-two-year-old Ludwigvan Beethoven, A Symphony no. 1inCMajor, op. 21(1799–1800) op. 8(1796–1797); Opus18string , Lobkowicz (1798–1800); Two Cello Sonatas, op. 5(1796); Serenade inDMajorfor , O Quintet in (Born ,baptized December 17, 1770; diedMarch 26, 1827, Vienna) Lu First performanc Composed: 1796 Prague inspring1796 duringaconcert tour that alsotook himto in performed heardBeethoven which 452), (K. 1784 of Winds and drew its inspiration and model from Mozart’s exquisite Quintet for quartet, then still indisputably dominated by . The Opus 16 modes of without broaching the genre of the string pproximate dura ther works from thisperiod:String Quint d 6—hc eald i t dmntae i sil n h traditional the in skill his demonstrate to him enabled 16)—which Among theworks withwhichBeethoven sought to establish his During hisfirst years inVienna, Beethoven was busy onseveral w i g van E -flat M e: April6,1797 B tion: 20minutes ajor for eethoven P iano and W inds, op. 16 et inE-flat Major, op. 4(1795);

concert Programs and . He apparently began the quintet in Berlin and completed JOHANN NEPOMUK HUMMEL the score later that year in Vienna. The piece was first performed at a (Born November 14, 1778, Pressburg; died October 17, 1837, ) concert organized by the violinist Ignaz Schuppanzigh on April 6, 1797, Septet in d minor for Piano, Flute, Oboe, Horn, Viola, Cello, and Bass, at the palace of Prince Joseph Johann von Schwarzenberg, which was op. 74 also to be the site of the premiere of Haydn’s the following Composed: ca. 1816 year and The Seasons in 1801. In appreciation, Beethoven dedicated the score to Schwarzenberg when it was published by the Viennese firm of Other works from this period: in G Major, op. 65 (ca. 1814– Mollo in March 1801. (Beethoven also arranged the quintet for piano and 1815); Sérénade no. 2, op. 66 (ca. 1814–1815); Piano in , three strings at that time and published it with the identical opus number.) op. 85 (1816); Adagio, Variations, and Rondo on “The Pretty Polly,” op. 75 , the composer’s amanuensis during those years, related an (ca. 1817); Piano Quintet in E-flat Major, op. 87 (1822) incident from the quintet’s premiere that illustrates both Beethoven’s skill Approximate duration: 40 minutes as a pianist and his strong self-will. Beethoven, it seems, took advantage of a fermata in the last movement to launch into a vast but unannounced The relationship between Ludwig van Beethoven and Johann Nepomuk cadenza. “It was comical to see the other players waiting expectantly,” Hummel was one of extreme ebb and flow. Hummel—a young emerging Ries reported, “ready every moment to go on, continually lifting their pianist whose curriculum vitae already included private study with Mozart instruments to their lips, and then quietly putting them down again. At and a five-year tour encompassing all of Western Europe—arrived in last, Beethoven was satisfied and dropped back into the rondo. The entire Vienna in 1793, shortly before Beethoven’s arrival in the Austrian capital. audience was delighted.” Beethoven, eight years Hummel’s elder, began to captivate the Viennese Though Beethoven’s Quintet for Piano and Winds is modeled on audience with his brash pianism and greatly intimidated the teenage the Classical example of Mozart’s eponymous work in its form, style, Hummel. The two , however, crossed paths regularly in pursuit instrumentation, and key, it is very much a product of its time and its of becoming recognized as Vienna’s finest and in fact both studied creator. The eminent English musicologist Sir Donald Tovey wrote, “The simultaneously with Johann Georg Albrechtsberger and asynchronously majority of Beethoven’s early works show a nervous abruptness which is with Joseph Haydn between the elder’s trips. as different from the humor of Haydn as it is from the Olympic suavity of Although ultimately a long-lasting one, the friendship between Mozart...In the quintet, Beethoven is, indeed, obviously setting himself in these two rising stars was a rivalrous and often contentious one. On one rivalry with Mozart’s quintet for the same combination; but if you want to occasion, in 1799, Beethoven wrote to Hummel: “Do not come any more to realize the difference between the highest art of Classical composition and me. You are a false fellow, and the knacker take all such.” Entering the early ms the easygoing, safety-first product of a silver age, you cannot find a better nineteenth century, Vienna had divided itself into two camps: one praising a illustration than these two works.” The American pianist-scholar Charles Beethoven’s ferocious tenacity and the other preferring Hummel’s more Rosen offered a further insight on Tovey’s thesis: “[The quintet and the delicate treatment of the piano. As their friendship began to deteriorate, septet] are classicizing rather than Classical. They are reproductions Hummel was appointed Konzertmeister at Esterházy Palace as a successor of Classical forms...based upon the exterior models, the results of the to Haydn in 1804. A poorly prepared performance of Beethoven’s Mass in Classical impulse, and not upon the impulse itself.” The quintet, in other C Major at the palace on September 10, 1807, added further tension to the words, stands at the threshold of Beethoven’s titanic accomplishment of relationship, and in 1813 Hummel married singer Elisabeth Röckel, whom wrenching music from the tidy and precisely circumscribed arena in which Beethoven may have also had interest in. Nevertheless, the two remained it existed during the late eighteenth century into the unbounded, cathartic in close contact—whether friend or foe—and Hummel agreed to perform realm of the Romantic age. Within a half-dozen years, Beethoven’s the percussion part of Beethoven’s Wellington’s Victory in December 1813, youthful buoyancy would crack under the loss of his hearing and the on which occasion Beethoven wrote: unprecedented deepening of his art. The quintet opens with a slow introduction whose stately tread and Dearly beloved Hummel! Please conduct this time the drum- pompous rhythms recall the old Baroque form of the French overture. heads and the cannonades with your excellent conducting With its sweeping figurations and full scoring, the piano announces its

concert Progr concert Field-Marshal staff—please do this; and if one day you may intention to be primus inter pares in the music to follow and, indeed, want me to praise you, I am at your service body and soul. appropriates for itself the principal theme of the main body of the (December 8, 1813) movement, a sleek, triple-meter made from a quick upward leap and a gently descending phrase. The winds are allowed to dabble in this Soon after, Hummel was dismissed from his post at Esterházy Palace melodic material before more bold piano scales and arpeggios lead to and spent time freelancing before taking a post at . There he the subsidiary subject, a lovely, flowing strain in even note values. The wrote his Septet in d minor, one of his most revered compositions to this development section busies itself with some piano figurations before day. Hummel’s work is indicative of the passing of an era, the final transition settling down to a discussion of the main theme. A long scale in the piano from the Classical to the Romantic, and the septet is a clear indicator of reaches its apex at the recapitulation, which returns to the earlier thematic this. Though it is written for piano, winds, and strings, the balance among materials to lend this handsome movement balance and formal closure. the instruments is asymmetrical. Hummel, a pianist himself, gives the The Andante is a richly decorated slow rondo (A–B–A–C–A) that touches piano a prominent role throughout, supported by a pseudo-orchestral on some poignant proto-Romantic sentiments as it unfolds. The finale is a blend of winds and strings. dashing rondo based on a galloping theme of buffa jocularity. In sonata-allegro form, the first movement begins with a series of —Dr. Richard E. Rodda exclamatory chords, alluding to a driving momentum in the piano that remains characteristic of the entire work. Despite the ominous key of d minor, the development and recapitulation remain surprisingly bright. It is interesting to note that Hummel marks the second movement Minuetto o scherzo. At the time of Beethoven, the characteristically faster scherzo began to take prominence over the classical minuet. Hummel’s use of both titles for this movement signifies the changing norms surrounding his compositional career. Hummel playfully passes the trio melody between the winds and strings, while the piano seems to plot methods of compromising

the cheery melody. The Andante con variazioni is a set of four variations on a sonically rich theme, each parsed by a gracious interlude.

The finale, a second brilliant sonata-allegro, begins with a vivacious introduction dominated by the piano. A brief fugue is announced by the cello and answered by the oboe and piano, one of the few sections of the work where the piano is subordinate. This segues to a lyrical sonata-like section with cello melody accompanied by the piano. The full ensemble rejoins the work, building it to a robust and zealous recapitulation. The coda returns the work to d minor, and a triumphant unison D closes the piece. Heeding requests for a more practical arrangement of this piece, Hummel published a version of the septet for piano, violin, viola, cello, and . This inspired no less than , whose encounter with ms

Hummel in Vienna while paying final respects to the dying Beethoven—a a true testament to the underlying character of their seemingly rivalrous friendship—provided inspiration for Schubert’s beloved . —Andrew Goldstein Music@Menlo chamber music festival and institute Sponsor a Young Performer concert Progr concert

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