HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 1

BEETHOVEN Complete Piano Works MARTINO TIRIMO 16 CDs HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 2

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BEETHOVEN Introduction perienced financial difficulties and his third Variation in the second movement of be delighted by them. I, myself, so en- Does Ludwig van Beethoven need any in- romantic relationships were often hampe- his last Sonata Op.111, are amazed at joyed ‘discovering’ the youthful Sonatas troduction? He is, after all, one of the red by the issue of class. Also, perhaps the similarity to the jazz idiom. Whether and other Sonata movements, some en- greatest of the great composers and one only a musician can appreciate fully the the founders of jazz were aware of Beet- chanting Variation sets, some delectable of the most popular. Many of his works loss of the sense of hearing. All these hoven’s astonishing expression is doubtful, Dances and Bagatelles, Preludes and are performed endlessly and audiences experiences deepened his emotional but this is surely the earliest ‘jazzy’ piece Rondos and much else. The whole journey throughout the world flock to concert halls world and sharpened his intellect. They of all! was an education and, if anything, increased to hear them. helped him in his reach for an expression my admiration for this giant of music. most musicians cannot even envisage. Elsewhere, the listener can only marvel at My question is: would he have produced the wealth of invention. Beethoven loved There are a handful of pieces, which may the remarkable number and quality of His piano output alone is enormous and to experiment and it was in his works for or may not be authentic. Nearly all these masterpieces had his life’s path been an arguably the greatest collection of all, and piano that he experimented the most. It spurious pieces are extremely short, some easier one? I do not think so. Furthermore, surely its most remarkable feature is the was, after all, his instrument and he was a of them less than 30 seconds and mostly I am convinced that his hearing problem, sheer variety of expression. Among the master of it. He sketched and re-sketched of mediocre quality and, in the end, I which must have been an almost intoler- 32 Sonatas you will not find two that are and there seemed to be no restriction in decided not to record them. Even if some able experience for him, was a blessing similar; and in the 20 sets of Variations his experimentation. Being highly self- of them are by Beethoven, my firm con- for mankind. His inner ear developed to one marvels at the range and inspiration critical, it sometimes took a long time be- viction is that he would have strongly ob- an astonishing degree and works such as of his vision and imagination. Indeed, he fore he arrived at what he regarded as jected to their presentation. the ‘Hammerklavier’ Sonata would pro- was a rebel and he defined the course of a satisfactory final version. These ‘ex- bably never have been written had he classical music probably more than any periments’ helped to develop pianistic The works are presented in chronological been able to exercise this vital sense. In other composer. He travelled fast and far, writing and musical expression to a re- order, but there are many instances where short, his inner vision of sound far exceeded from the influence of Haydn and Mozart markable degree, very much determining scholars cannot pin down the precise time what he was able to hear of the limited in his early works to his own idiomatic the future direction of music. Without of composition. Also, in a few cases, strict acoustic possibilities of the instruments of language of the middle period works and, his immense influence, who knows what chronology is deliberately ignored so that that time. finally, reached heights of great spiritual would have followed Mozart? on each CD the order offers more attrac- depth in the last 10 years or so. tive listening. For example, in CD4, the Indeed, his whole life was extraordinarily Among his extraordinary output for piano, strict order would have meant listening to difficult. As a child he was beaten by his Such is the variety of his expression that there are many outstanding works that are the 12 Minuets WoO7 followed by the 12 drunken father, as an adult he often ex- some jazz musicians, when hearing the little played and the listener is bound to German Dances WoO8, about 42 mi- 2 3 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 4

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nutes of continuous dance music. The in- CD 1 Sonata in E flat major, WoO47 No.1 are simply astonishing for such a young sertion of the 12 Variations WoO68 Nine Variations in C minor on a Allegro cantabile composer. In fact, all three Sonatas between them provides variety; after all, March by Ernst Christoph Dressler, Andante contain remarkable passages, both these three works were written more or WoO63 Rondo vivace pianistically and musically, which delight less at the same time. This is young Beethoven’s first known sub- Sonata in F minor, WoO47 No.2 the ear. The technical demands, especially stantial composition, completed in 1783, Larghetto maestoso - Allegro in the second movement of the D major Uppermost in my mind while making the and the first to be published. The theme by Andante Sonata, which is a minuet with six recordings was the experience of Fer- Ernst Christoph Dressler, was given to him Presto variations, are considerable; but it is the dinand Ries, Beethoven’s closest student, by Christian Gottlob Neefe, his first main Sonata in D major, WoO47 No.3 musical meanings and purpose behind who described in some detail what hap- music teacher and Court organist in Bonn, Allegro the notes that impress. pened during his piano lessons. Beet- who asked him to write some variations. Menuetto sostenuto hoven did not concern himself at all with The 12-year-old student responded magni- Scherzando: Allegro ma non troppo The structure of the first movements is wrong notes, but if the musical expression, ficently! In developing this rather banal These three ‘Kurfürstensonaten’ also date relatively straightforward, but not without the essence of his idiom and the specific March, he displays remarkable imagina- from 1782-83, and they are known as surprises. In the F minor Sonata, the emotional content, was absent, then he tion and even pianistic innovation. The Va- such because the 12-year-old composer deeply serious introduction is followed by went into a rage. For him this was not riations are rather conventional but are of dedicated them to the Elector (Kurfür) an equally dark Allegro based on descen- forgivable. It was a crime! such a demanding level of difficulty that Maximilian Friedrich. Even though their ding scales, and when the opening mate- one can only marvel at the technical style may be mostly in the shadow of rial returns before the recapitulation it is in This recollection of Ries is always with me, ability of the composer, who presumably Haydn and Mozart, there is such origi- the unexpected and unusual key of B flat for it highlights the composer’s powerful was able to execute them. Neefe wrote: nality, invention and boldness that they minor. Elsewhere, in all three Sonatas, instruction to the interpreter: to focus with “This youthful genius...will surely become amply deserve to be numbered among the there are hints of orchestral colours as well total dedication, commitment and love on a second Mozart, if he progresses as well established 32 Sonatas. If later works like as gracefulness and intense drama, which the significance of the music, on what lies as he has begun”. When listening to this Op.49 and Op.79 are among the 32, foreshadow the symphonic writing of later beyond the notes. And what a treasure he work, one must not forget that the compo- then it is time for us to start talking about years. Also, as in the finale of the D major has left for us! ser was merely a boy of twelve! Beethoven’s 35 Piano Sonatas! Sonata, the listener will detect the lighter and humorous side of the composer. Copyright, Martino Tirimo The slow movements of the first two Sona- February 2019 tas, and also the opening of the F minor Sonata, express depths of emotion which 4 5 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 6

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Rondo in C major, WoO48 Scholars have rightly cast doubt on the Minuet in F major, WoO217 These two short movements are more like Allegretto authenticity of both these two-movement (no tempo indication) sketches and were probably composed Rondo in A major, WoO49 Sonatinas. They were published after Andante in C major, WoO211 around 1785. There is nothing particularly Allegretto Beethoven’s death and they are rather Andante noteworthy about them: melodically and Beethoven was still twelve years old when simplistic in their pianism and musical Little is known about the composition of harmonically they are straightforward and he wrote both these charming and joyous expression, especially the one in G major. these two short pieces and scholars do not without any surprises. Rather, it feels like Rondos in 1783 and he, surely, must have However, it is not impossible that they agree on the date of composition. The the jotting down of ideas and there is no had a smile on his face! They suggest that could have been written by a still younger Minuet is clearly a very early piece, but development. he must have had some happy experien- Beethoven and, in the end, I decided to the more mature expression of the Andan- ces as a young boy and, also, that he en- include them - also partly because they te may well date from a later period. Two Preludes, Op.39 joyed employing such joyful material. The have become so famous. The G major (no tempo indications) first Rondo, with its simple ABA form and Sonatina, in particular, is played by The Minuet’s simple theme, an octave Both Preludes were composed in 1789, or mostly diatonic two-part writing, also millions of children and amateur pianists apart, almost gives the impression that this before, but were not published until 1803. conveys a sense of humour, whilst the A all over the world; it is technically unde- might have been written by a novice com- They are also found among compilations major Rondo is more in the style of cham- manding and does not have any of the poser. The imaginative Trio however, with of organ music, and this is understandable ber music and has two episodes. The first, usual Beethovenian fire or urgency in the succession of descending and ascen- since they sound well on that instrument in A minor, is serious and even fore- either of its movements. However, one ding scales, soon dispels such a belief. This too. That which is unusual and remarkable boding, whilst the second one makes note- could perhaps say the same for the G certainly is not the work of an amateur! is that in both Preludes, in the key of C worthy use of double thirds in a relatively major Sonata Op.49 No.1. major, Beethoven travels through all the fast tempo. The Andante is brief, but there is a sense sharp and flat keys in strict order, and in The first movement of the F major Sonatina of a smooth, expansive ‘philosophical’ the second Prelude he even does it twice! Sonatina in G major, is quite brilliant with fast fingerwork line, as if one is reflecting on a long life. In the first Prelude, which is quite substan- Kinsky-Halm Anh.5 No.1 throughout and has a definite sense of If this is an early work, then it is an even tial, he enjoys the flavour of each tonality Moderato purpose, but there is nothing which is greater achievement. for much longer and a climax is reached Romanze striking. The second movement, a Rondo, in the middle before the gradual, orderly Sonatina in F major, is playful and pleasant but, once again, Two movements of a Sonatina return to C major. It is a most purposeful Kinsky-Halm Anh.5 No.2 all is somewhat predictable and without in F major, WoO50 work and one that very much looks to the Allegro assai that vital spark we associate with most of (no tempo indication) future. In the second Prelude of just two Rondo: Allegro Beethoven’s works. Allegretto minutes long, it is indeed a small miracle 6 7 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 8

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how the young composer goes through all simple and humorous theme. Of the 20 13 Variations on the Arietta to aim to ‘please’ his audience. In tonalities twice. In quite a few keys he sets of Variations, only the 32 in C minor ‘Es war einmal ein alter Mann’ WoO13 he achieves variety by having stays for only one bar and this swift and and the ‘Diabelli’ have more variations. from the Singspiel “Das rote successive dances in a different tonality natural succession of modulations is just Beethoven thought highly of the ‘Righini’ Käppchen” by Carl Ditters von and with different characterization. Also, about unique in music. Variations and, according to Czerny, Dittersdorf in A major, WoO66 even though there are no tempo indica- frequently performed them to ‘introduce’ Austrian composer Dittersdorf was a close tions, it is clear that the Dances were not CD 2 himself and with much success. They are friend of Haydn and on at least one occa- meant to be performed in a uniform tem- Six Easy Variations on a often inventive, imaginative and brilliant, sion was the first violinist in a string po. Each dance has a contrasting Trio, Swiss Air in F major, WoO64 and a testimony to the composer’s re- quartet with Haydn playing second violin, often charming and elegant, exhibiting the These Variations were written around markable keyboard skills. Mozart the viola and Czech composer composer’s refined sensitivity. Particularly 1790 for either the piano or the harp. Wanhal the cello! His compositions in- memorable are the dreamy Trios of No.5 They are brief and indeed relatively Seven Kontretänze WoO14 clude 120 symphonies and 11 operas and 9. Dance No.12 includes an exten- ‘easy’. The simple Swiss folk tune was The Kontretänze were originally written for and it is likely that Beethoven was introdu- sive coda, bringing the work to a brilliant, published in 1781 and achieved much orchestra. There are 12 of them and Beet- ced to the Arietta ‘There was once an old celebratory conclusion. popularity, but there was no accompa- hoven arranged seven of them for piano. man’ through Haydn. The happy and niment to it and Beethoven had to har- From his early Viennese days in late humorous theme is splendidly developed Seven Variations on the Quartet monize it. All six variations remain close 1792, when he began his studies with and pianistically extremely demanding, ‘Kind, willst du ruhig schlafen’ to the theme, with little hint of the usual Haydn, he wrote a lot of dances for the especially in Var.7 and Var.11. Apart from the opera “Das unterbrochene Beethovenian adventurousness. Redoutensaal in Vienna, and these helped from the expressive Var.6, in the minor Opferfest” by Peter Winter in to make his name known. Whilst Haydn key, Beethoven maintains the joyous light- F major, WoO75 24 Variations on the Arietta and Mozart also wrote many dances ness of the theme. Of the German composer Peter Winter’s ‘Venni amore’ by Vincenzo rather late in their careers, Beethoven 30 operas “The interrupted Sacrificial Maria Righini in D major, WoO65 started early. The most famous of the 12 German Dances, WoO13 Feast” was the most popular and Beet- The Arietta of the Italian composer Righini, Kontretänze is No.5 (orchestral No.7), As with many other groups of Beethoven hoven probably saw the production of who was born five days before Mozart, is which states the theme used in the ‘Eroica’ Dances, these were also written for orches- 1796 in Vienna. The theme is lengthy, 49 a typical example of light operatic arias of Variations for piano and also in the finale tra but only the manuscript of the piano bars, but very diatonic and harmonically that period. The main aim was to entertain of the ‘Eroica’ Symphony. version survived. Generally, his compo- simple. Beethoven keeps to this structure and, evidently, the 19-year-old Beethoven sitional approach to ‘dances’ differs from apart from the final variation where he saw a lot of potential in developing this almost all his other output and he appears develops the material freely and expan- 8 9 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 10

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sively. Noteworthy is the fast, ascending Adagio nic connection, the gradual development Brief thematic units and fast, brilliant runs scales in both hands in Var.2, the pianism Scherzo: Allegro of ideas was broken up…Evils of this na- and broken octaves, ascending and des- of Var.4 with its rapid and radiant finger- Allegro assai ture frequently weaken his greatest com- cending, prevail in much of the sprightly work reminiscent of Chopin, the fine, dark Following his youthful Sonatas and several positions, those which sprang from a too and almost carefree Allegro vivace of quality of Var.6, in the minor, and some other incomplete Sonatas, Beethoven finally exuberant conception.”! He did, however, Op.2 No.2. There are also polyphonic surprising modulations in the finale. decided that the three Sonatas of 1795 add that “The singular and original textures and daring modulations but, were worthy of publication; and how right seemed to be his chief aim in compo- unusually, no coda. By contrast the slow Allemande in A major, WoO81 he was! They are dedicated to his teacher, sition…”. It would seem to us now that movement, built on extended melodic lines (no tempo indication) Joseph Haydn, and in late August 1795 Tomaschek could not fully comprehend with a staccato accompaniment which This is a most captivating and happy the young composer played all three Beethoven’s ‘advanced’ musical language, could be likened to the human heartbeat, piece and very close to the Schubertian works for Haydn at one of Prince Lich- but it is fascinating to know of a learned is deeply serious, expressing lofty emo- idiom and, indeed, one may be forgiven nowsky’s morning concerts. Little is known opinion such as his at that time. tions. The main theme is restated several for mistaking the composer! Its elegant of Haydn’s reaction, but the Austrian-Bohe- times, with few but potent changes inclu- ascending and descending arpeggios are mian composer Tomaschek who had In Op.2 No.1 Beethoven displays a con- ding a ff outburst in the minor. The light- delightful, as is also the serene Trio. heard all the great keyboard virtuosi from siderable degree of mastery, even with the ness and humour of the Scherzo, paired Mozart’s time described Beethoven as relatively simple material of the opening with a smoothly flowing Trio in the minor, CD 3 “the giant among pianoforte players”. He Allegro. Noteworthy is his use of sforzandi, leads to one of the composer’s most Sonata in F minor, Op.2 No.1 was impressed not only by his “magni- on and off the beat, which in later works elegant and refined Rondos. Apart from Allegro ficent playing” but also by his “graceful became an intrinsic part of his expression. the dynamic staccato central episode, Adagio Rondo in A major” (the finale of the Sona- The serious mood of the Adagio, dating from there is an almost continuous expression Menuetto: Allegretto ta Op.2 No.2) and by his improvisational an earlier period, unveils highly finished of amiability and bonhomie. Prestissimo skills which “stirred me strangely to the craftsmanship and conveys a fine nobility of Sonata in A major, Op.2 No.2 depths of my soul; indeed, I found myself emotion. The Menuetto is unusual for its dark That which is noteworthy in the brilliant Allegro vivace so profoundly bowed down that I did not character, in the minor, while the Trio pro- and virtuosic Sonata Op.2 No.3 is that Largo appassionato touch my pianoforte for several days…”. vides a smooth and sunny contrast in legato Beethoven, in the opening movement, uses Scherzo: Allegretto quavers. The precipitous finale is notable for no less than three themes from his Piano Rondo: Grazioso At the same time, Tomaschek was critical its onward energy, extreme dynamic con- Quartet in C, written at the age of 14! Sonata in C major, Op.2 No.3 of Beethoven’s “daring deviations from trasts and an extended melodic dolce which This Allegro con brio is full of broken oc- Allegro con brio one motive to another, whereby the orga- dominates the central part of the movement. taves and chords, trills and other pianistic 10 11 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 12

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effects and it is only the second subject sets of variations using two different the- ment. For the larger room they were Minuet from this ballet was advertised in with its smooth cantabile line which pro- mes from arias in the opera. ‘Quant’è written by the Royal Imperial Kapellmeister February 1796, the work was most pro- vides a welcome contrast. Unusual is the più bello’ achieved great popularity at Süssmayr; for the smaller room by the bably composed in the second half of addition, before the coda, of a caden- that time and it was hardly surprising that master hand of Herr Ludwig van Beet- 1795. za-type passage, almost improvisatory. the young composer chose this particular hoven, out of love for the artistic fraternity.” The Adagio is in ABABA form where A aria to exhibit his enormous skill in The theme is totally diatonic, harmonically comprises a series of ‘questions’ and variation form. Paisiello’s theme is a Most Minuets have an orchestral flavour simple and light in character, and it stimu- ‘answers’, while B provides a soothing happy melody and lends itself naturally to and all are paired with a Trio, usually con- lated Beethoven to introduce considerable atmosphere, especially with its two-note decoration and invention. The nine trasting and sometimes expressing a hun- chromaticism and occasional humour. The motif, sometimes rising and sometimes variations keep close to the theme, but ting-type call of two horns, as in No.10 brilliant Var.10, with the right hand often falling. The lively Scherzo, notable for its they are entertaining and, unusually, the which is the longest of the set. Throughout over the left, is remarkable for its clashes off-beat accents, is paired with an impres- final one is an elegant minuet. these dances there is a sense of noble of major 7ths which, indeed, sound like sive Trio of fast ascending and descending expression and plenty of delightful and wrong notes! The expansive and energetic arpeggios. The most virtuoso writing is CD 4 heart-warming passages, not least in the final Variation promises a climactic ending reserved for the finale, memorable for its 12 Minuets, WoO7 Trios. but, instead, the composer surprises us rapid and light rising chords and the Both these Minuets and the 12 German with a brief Adagio which decorates Brahmsian chordal theme which is pre- Dances WoO8 were first composed for 12 Variations on the ‘Menuett the theme operatically and ends with valent in the middle section. The sparkling orchestra and more or less at the same à la Viganò’ from the ballet the music fading away; an unexpected coda brings the work to a triumphant time, and were followed immediately by “Le nozze disturbante” by masterstroke. close. an arrangement for piano solo. In 1792 Jakob Haibel in C major, WoO68 the Gesellschaft der bildenen Künstler in Jakob Haibel, a prolific Austrian compo- 12 German Dances, WoO8 Nine Variations on the theme Vienna founded an annual ball in the ser, became Mozart’s posthumous brother- Like the 12 Minuets WoO7, these German ‘Quant’è più bello’ from the opera month of November at the Redoutensaal in-law when he married Contanze’s Dances are very orchestral in character “La Molinara” by Giovanni during which a lot of newly-composed younger sister Sophie. His ballet “Le and, apart from the first dance, are paired Paisiello in A major, WoO69 dance music was heard by composers nozze disturbante” was first presented at with a Trio. Some, however, like No.7 Paisiello’s “La Molinara” of 1788 was first such as Haydn. An advertisement for the Schikaneder’s theatre in Vienna in May and No.9, with fast flowing quavers, staged in Vienna in 1794 and Beethoven 1795 events included the following: “The 1795 with great success and was per- appear to have been conceived primarily was in the audience, according to his music for the Minuets and German dances formed 39 times that year alone. Since the as ‘piano’ music. The final Dance is great- friend Wegeler. Soon after, he wrote two for this ball is an entirely new arrange- publication of Beethoven’s Variations on a ly extended and dominated by the intro- 12 13 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 14

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duction of a Posthorn which alternates and this extends to 47 bars. Var.5 is the Bagatelle in C minor, WoO52 CD 5 with much brilliant writing. At the end it is most entertaining with the use of short Presto Sonata in G major, Op.49 No.2 the Posthorn which has the final word, a but quick chromatic runs of delightful From Beethoven’s sketches one can deter- Allegro, ma non troppo most original gesture! humour. mine that he planned a fourth movement, Tempo di Menuetto an Intermezzo, for the Sonata in C minor The composition date of both Op.49 Six Variations on the duet Alla Ingharese quasi un Capriccio Op.10 No.1. In fact, there are several Sonatas remains uncertain. Indeed, the ‘Nel cor più non mi sento’ from the in G major, Op.129 (‘Rage over a ‘tries’ for this, and two of these movements simple style, especially of this Sonata, opera “La Molinara” by Giovanni lost penny, vented in a Caprice’) later became known as the Bagatelles suggests that they could have been written Paisiello in G major, WoO70 (no tempo indication) WoO52 and WoO53, both in C minor. before the Op.2 Sonatas. That which is Paisiello was the most popular opera com- Diabelli & Co. purchased this piece at the WoO52 is a movement of strong dynamic likely is that both these ‘Leichte’ Sonatas, poser of the late 18th century, writing 94 auction sale of Beethoven’s possessions and rhythmical quality and includes canon which are indeed ‘Easy’, were composed operas but also a lot of church music. ‘Nel after his death and published the work in passages of the five-note main motif. The for a young and/or inexperienced player. cor più non mi sento’ became his most 1828. The added inscription of ‘Rage captivating Trio makes admirable use of The G major Sonata is reminiscent of famous melody and at a performance of over a lost penny, vented in a Caprice’ legato double thirds in both hands. Haydn in its elegant writing and expres- “La Molinara” Beethoven found himself stems solely from Anton Schindler and I sion and the themes in the first movement, seating in a box with a lady who mentio- leave it to the listener to decide if at Rondo in B flat major, accompanied by simple figurations, are ned that she had some variations on this the end ‘the penny is found or not’! The Kinsky-Halm Anh.6 charming and amiable. There is no turbu- theme but had lost them. That same night diatonic lively theme has an ongoing (no tempo indication) lence and not even a single sforzando! he wrote these six Variations and next rhythmical energy throughout and the Not much is known about this Rondo, but This amiability spills over to the Menuetto, morning sent them to the lady with an composer makes much use of the broken the main theme is like a hunting call and, whose main theme Beethoven used again accompanying note: ‘Variazioni… Lost – arpeggio which includes some demanding indeed, the writing makes considerable in his Septet Op.20 of 1800. It is in rondo but found by Luigi van Beethoven’! The passages for the left hand. The episodes use of horn effects throughout. A lot of it is form, but the musical expression is very anecdote stems from his friend Wegeler. in E major and B flat are welcome depar- in two and three voices, but also contains docile, civilized and graceful. Only in the The fact that they are relatively easy could tures from the tonic key and, in the latter, fuller pianistic sonorities. Memorable is brief C major central episode is there any be because Beethoven wanted her to be Beethoven utilizes charming imitative the G minor episode and the ‘false’ return hint of some onward rhythmical energy. able to play them. In the first five varia- writing. of the opening theme in F major. tions he sticks to the length of the theme’s 20 bars, but in the last variation he elabo- rates with repetitions of parts of the theme 14 15 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 16

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Eight Variations on the theme the Countess Browne, to whose husband character. The second Minuet in G major include a central episode based on the ‘Une fièvre brûlante’ from the Beethoven had already inscribed the three has become one of the composer’s most first four notes of the theme. In the last few opera “Richard Coeur de Lion” String Trios Op.9. The C minor Sonata famous pieces and is especially loved by bars the music unwinds and fades into by André-Ernest-Modeste Grétry probably dates from 1796 and it is still a amateur pianists. silence. in C major, WoO72 rather underestimated work. The concise Grétry’s “Richard Coeur de Lion” (“Richard but animated first movement is based on a 12 Variations on the Russian Sonata in F major, Op.10 No.2 Lionheart”) was first performed in Vienna number of short motivic units, some rhyth- Dance from the ballet Allegro in 1788, but the romance ‘Une fièvre mical and some melodic. Noteworthy are “Das Waldmädchen” by Allegretto brûlante’ from the opera was heard again the melodic suspensions and dramatic Paul Wranitsky in A major, WoO71 Presto several times in 1795 and it was then that pauses. The slow movement, also in sona- Beethoven often received generous pre- Op.10 No.2, the composer’s sixth pub- Beethoven heard it and proceeded with ta form but without a development, expres- sents from his patrons and on this occa- lished Sonata, was composed in 1796- his first sketches for these Variations ses profound and lofty emotions and con- sion Count Browne, after the dedication of 98. The Allegro employs several brief which, incidentally, are found next to tains some unusual coloratura-type writing these Variations to his wife, gave the motivic units, some of which exhibit sketches for the first movement of the So- as well as abrupt fast arpeggios. The composer a horse, which he rode Beethoven’s sense of humour. The develop- nata Op.10 No.1. As in other variation rapid and enigmatic finale, despite its several times! Moravian-Austrian composer ment is, remarkably, longer than the expo- sets, at the start the work advances with brevity, includes several contrasting ele- Wranitsky’s ballet “Das Waldmädchen” sition and the ‘false‘ return of the main progressively faster-moving fingerwork, ments and is sometimes delightfully witty, (The Forest Maiden) was performed 17 theme in the tonality of D major, is wholly includes one variation in the minor key especially with its second subject. times in Vienna in 1796 and Beethoven delightful. There is no slow movement and concludes with an extended final wrote the Variations late that year based and, instead, we have an Allegretto which variation ending in tempo Presto. Note- Six Minuets, WoO10 on the Russian Dance from it. The theme, is a kind of fast minuet with a trio. The worthy is Var.6 which is a clear forerun- These six Minuets of 1796 survive only in with the repeat of its second half included, music alternates between sombre and ner of Var.13 of the ‘Diabelli’ Variations this version for piano but, as with other is 28 bars long and in the first 11 varia- capricious moods, with plenty of sforzandi Op.120, written some 25 years later. dances of this period, it is highly likely tions this length is strictly observed. They on the ‘wrong’ beat of the bar as well as that they were also composed for orches- include three variations in the tonic minor, the use of the canon. The Sonata conclu- Sonata in C minor, Op.10 No.1 tra. All six have an orchestral flavour with some fascinating and glittering piano des with a fugato type of writing at a fast Allegro molto e con brio a strong and fine rhythmical drive and writing, resourceful counterpoint and also tempo and displays once again the com- Adagio molto each is coupled with a smoothly-flowing some slow-moving legato passages. The poser’s captivating humour. Finale: Prestissimo Trio apart from the last two which, surpri- final variation is 134 bars long and is in The three Sonatas Op.10 are dedicated to singly, retain a fundamental rhythmical fact several variations without a break and 16 17 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 18

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CD 6 well beyond the years of a young man Easy Sonata in C major, WoO51 to many pianists and, indeed, this Sonata Rondo in C major, Op.51 No.1 and, in the coda, a short passage is clear- Allegro is one of the recognized masterpieces of Moderato e grazioso ly reminiscent of the much later ‘Choral Adagio the composer’s first period. It blends tech- Although sharing the same opus as the Fantasy’ Op.80. The charming third move- Beethoven, in a letter to Eleonore von nical mastery and maturity of expression Rondo in G major, the above Rondo was ment is something between a minuet and Breuning for whom he had deep and in impressive fashion. The vigorous ope- written about three years earlier in 1796- a scherzo and is paired with a trio in enduring feelings, wrote: ‘I have a great ning Presto is of symphonic character and 97. As its tempo direction implies, it is the minor, remarkable for its ff outbursts. deal to do or I would have transcribed the a four-note descending motif is used exten- indeed very graceful and its phrases are The finale is one of the composer’s most sonata I promised you long ago; it is a sively and ingeniously. As contrast, there elegantly sculpted. It is very classical in enchanting Rondos and the dramatic cen- mere sketch in manuscript…’. She re- are some enchanting cantilena themes but style and even its dark and dynamic cen- tral episode provides an immense contrast ceived the complete manuscript of it is the zestful rhythmic drive which tral episode in the minor is still within a to the amiable opening theme. The in- WoO51 in 1796, but the copy that was governs. The Largo that follows is one of disciplined boundary of expression. In the spired coda encapsulates the romanticism sent to the publisher lacked 11 bars at the Beethoven’s most eloquent and saddest coda the music becomes more chromatic, of the movement perfectly. end of the Adagio which were supplied by slow movements. In sonata form, with subt- but the alluring classicism prevails. Beethoven’s student Ferdinand Ries. There le and inventive writing and an elaborate Allegretto in C minor, WoO53 must surely also have been a third move- coda, it probes into the deepest of human Sonata in E flat major, Op.7 Allegretto ment, which was never discovered. The emotions. Allegro molto e con brio Sketches provide some evidence that this opening Allegro is smooth and gentle in Largo, con gran espressione Allegretto was an option for an Inter- character, based on ascending and des- Some brightness is restored with the sunny Allegro mezzo, as a fourth movement to the Sona- cending arpeggios, while the Adagio with melody of the Menuetto and the humorous Rondo: Poco allegro e grazioso ta Op.10 No.1 (prior to the finale). It is a its simple accompaniments has an opera- exchanges in the Trio. However, in some This substantial work is one of the finest kind of Bagatelle as it shares qualities of tic flavour. ways it is the most unusual and intriguing Sonatas of the early period. The lively first some of the well-known Bagatelles. It has finale, a movement like no other in Beet- movement is on a large scale and con- a dynamic and dignified character and its Sonata in D major, Op.10 No.3 hoven’s output, which steals the show! The tains much original and brilliant piano Trio consists of mostly two legato voices in Presto questioning three-note motif and its amabile writing. The powerful rhythmical energy of canon. This fine piece in C minor, a key Largo e mesto ‘answer’ are imaginatively developed, as the moving quavers is almost relentless, which expresses Beethoven so admirably, Menuetto: Allegro is also the extraordinary chromaticism relieved only by the lyricism of the second concludes with a coda which combines Rondo: Allegro especially in the magnificent coda, with its subject. The Adagio in ABA form ex- the main theme with the Trio opening. It is not surprising that the brilliant virtuo- surprising but utterly fitting ending. presses a nobility and depth of emotion sity of the first movement appeals greatly 18 19 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 20

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Sonata in G minor, Op.49 No.1 imposing and leads to the fast Allegro di composer’s main benefactors. It is in terna- octaves, which is employed throughout the Andante molto e con brio, which could easily give ry rondo form, ABACABA, and Mozartian development. The second movement is a Rondo: Allegro the impression of a light-hearted mood, if in its elegance. Phrases are gracefully con- typical Beethoven scherzo, in the tonic The first movement’s sonata form is re- so interpreted. In fact, the tone remains structed and exquisitely ornamented and minor, and is paired with a calmly flowing duced to its bare elements. The exposition dark and the two brief interjections of the the bel canto element is everywhere. The trio which, surprisingly, returns after the re- consists only of the smooth and lyrical first Grave serve as a reminder. central section in E major at a faster petition of the scherzo as a brief coda to and second subjects, with very little deco- tempo, however, demands from the player the movement. The lightness of the finale’s ration, whilst the development is based The slow movement that follows has be- skilful articulation as well as refined musi- main theme gives the impression of totally on the second subject. The recapitu- come one of the composer’s best-known cianship. floating on air and is the total antithesis of lation is more extended and leads to an and most loved compositions. The beauti- the central episode with its dynamic rhyth- inventive close in the tonic major. In this fully-shaped and sustained theme ex- Sonata in E major, Op.14 No.1 mical drive and emphatic accents. way Beethoven prepares the listener for presses both tranquillity and nobility, Allegro the light-hearted Rondo in the same tonali- which is only slightly disturbed by a few Allegretto Sonata in G major, Op.14 No.2 ty. Apart from the stronger and darker moments of sombre colours in the minor. Rondo: Allegro comodo Allegro colours of the first episode, the mood The finale is a fully developed Rondo with The two Sonatas Op.14 were published in Andante remains bright and genial. some interesting writing especially in the 1799, but may well date from an earlier Scherzo: Allegro assai suavely flowing episodes, which contrast time. It is also of interest that the composer Like the E major Sonata, Op.14 No.2 is CD 7 admirably with the quiet rhythmic urgency arranged the E major Sonata for string also a short three-movement work. It opens Sonata in C minor, Op.13 of the opening theme. quartet in F major, presumably to accom- with a six-note motif which becomes the ‘Pathétique’ modate the low B, an important note, as a main thematic feature of the whole move- Grave - Allegro di molto e con brio Rondo in G major, Op.51 No.2 C on the cello. He disliked arrangements ment and is further elaborated in the Adagio cantabile Andante cantabile e grazioso and this was made under pressure by the stirring development where the device of Rondo: Allegro Originally, Beethoven had given this publishers. Curiously, even though the two against three is amply used. In spite Ever since its publication the Sonata Rondo to Countess Giulietta Guicciardi work is idiomatically pianistic there are of some fluent passage-work, the writing is Op.13 achieved great popularity. Clearly with whom he was in love, but then asked several passages of chamber music primarily lyrical, smooth and dolce in the publisher’s title ‘Grande Sonate for it back and, instead, dedicated to her character, such as the second subject of character. The even-tempered Andante is a Pathétique’ was designed to appeal to the the ‘Moonlight’ Sonata, Op.27 No.2. He the Allegro. This lyrical theme contrasts theme with three variations and a coda, romantically-inclined public of the day. then dedicated the Rondo to Countess strongly to the rhythmical vitality of the the theme largely consisting of a series of The Grave introduction is both grim and Lichnowsky, whose brother was one of the opening and also to another theme in staccato chords. These are later heard 20 21 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 22

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also in legato mode, in syncopation, with lessons from Salieri, it was natural for him the fugato writing in Var.8, and the work elements and its extended development florid accompaniment and, in the final six to choose a theme by his teacher and this concludes with a surprise amended re- elaborates fully on such elements first bars, with a sense of humour. Unusually, theme is very operatic and amusing. appearance of the Adagio. heard at the end of the exposition. In the finale is a scherzo in mood even if in However, the first eight Variations are some ways the slow movement, in regular rondo form. Apart from the melodic inter- serious and only in the final two Beet- CD 8 sonata form, looks forward to the Noctur- lude of the middle episode, this is one of hoven’s humour takes over. At the end of Seven Ländlerische Dances, WoO11 nes of the romantic era, and the expres- Beethoven’s most playful and comic move- the expansive and very operatic last This short set of ‘Ländler’ Dances of 1799 sion is sometimes operatic and sometimes ments in which the main theme’s rising variation he re-states the theme with was yet another commission from the in chamber music mode. Also, both first and notes in groups are ingeniously and some added witty touches. Redoutensaal, which had become one of second subjects are resourcefully deco- amusingly treated. Vienna’s most popular meeting and perfor- rated. The graceful Menuetto sometimes Eight Variations on the Trio ming venues, and sketches of them have harks back to the rhythmical elements of 10 Variations on the theme ‘Tandel und Scherzen’ from the been found among the Variations WoO77 the opening movement, but the trio in the ‘La stessa, la stessissima’ from opera “Soliman II or The three (see below). All the Dances are in D major minor, stormy and impatient with its con- the opera “Falstaff” by Antonio Sultaninnen” by Franz Xaver and quick-moving and there are no Trios. tinuous left-hand semiquavers, is forward- Salieri in B flat major, WoO73 Süssmayr in F major, WoO76 In the coda of No.7, for 34 bars Beet- looking. The finale’s suave principal theme The critics of the famous journal Allge- Czerny related that this set of variations hoven creates an unusual drone effect, contrasts perfectly with the episodes, espe- meine Musicalische Zeitung were extreme- was the first of Beethoven’s works which with a low D in the bass sounded on the cially the second one with its strongly ly unkind about this work: ‘The critic can- his master had given him to study. At first, first beat of every bar. rhythmic theme and brilliant passage- not at all be satisfied with, because they he was given pieces by C.P.E. Bach and work. This latter theme is delightfully are stiff and strained; and what awkward after WoO76 the ‘Pathétique’ Sonata. Sonata in B flat major, Op.22 developed in the coda. passages are in them, where harsh tirades Süssmayr, famous for the completion of Allegro con brio in continuous semitones create an ugly Mozart’s Requiem, had this opera per- Adagio con molta espressione Six Easy Variations on an relationship and the reverse! No, it is true; formed at the Hoftheater in 1799 and, Menuetto original theme in G major, WoO77 Herr van Beethoven may be able to impro- once again, Beethoven composed his Rondo: Allegretto Little is known about the background to vise, but he does not know how to write Variations shortly after. The theme is unex- Completed in 1800, Op.22 is dedicated this work, but the likelihood is that it was variations.’ What a review! Salieri’s opera ceptional, but the invention and variety of to the Russian Count Browne of whom either a commission by an amateur pianist was performed in Vienna’s Hoftheater in the variations, both in pianistic and musi- Beethoven thought highly. The lively and or written for one of the composer’s 1799 and Beethoven’s Variations followed cal terms, is enormous. The nobility of very pianistic first movement is striking students. Beethoven’s own theme is unusu- soon after. Of course, after having had Var.7, an Adagio, is outstanding as is also more for its rhythmical rather than melodic ally conventional and in the variations he 22 23 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 24

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keeps strictly to the 16-bar structure. Also, ring Funeral March, subtitled ‘sulla morte even more so is the introduction of a com- of the Allegretto or the passion of the he clearly tries hard not to technically tax d’un Eroe’ (‘on the death of a Hero’), pletely independent Allegro. There follows finale. Presumably, Rellstab was solely the pianist too much. After Var.6 he brings which is reminiscent of the ‘Eroica’ Sym- a rapid scherzo in the relative minor referring to the first movement which, back the first two bars of the theme and phony of 1804. In the brief ‘Trio’, Beet- which is harmonically and rhythmically unusually for a sonata, is a slow one. At decorates them stylishly. hoven makes an unusual but effective use interesting but does not contain anything that time this must have appeared revo- of the tremolo. The finale, in rondo form, which may be called a melody – an achie- lutionary for it is like a free improvisation Sonata in A flat major, Op.26 is a moto perpetuo mostly in two voices vement in itself! The Adagio that ensues is with sustained phrases of a distinctly vocal Andante con Variazioni with both inversion and interchange built on an inspiring and flowing melody character over a simple accompaniment Scherzo: Allegro molto imaginatively employed. expressing profound emotion. The conclu- which keeps to the same motion through- Marcia Funebre ding vivacious Allegro vivace is the most out. Allegro Sonata in E flat major, Op.27 No.1 substantial and, technically, most challen- Composed in 1801 and dedicated to ‘Quasi una fantasia’ ging movement and contains some inno- The compact Allegretto, with its short Count Carl von Lichnowski, the Sonata Andante – Allegro – Tempo I vative piano writing. The restatement of motivic units, provides some welcome Op.26 opens with an extended theme in Allegro molto e vivace the Adagio, just before the coda (Presto), brightness and an exhilarating motion, three sections, 34 bars in total, followed Adagio von espressione is most striking and again out of the while the more serious Trio is charac- by five variations which keep closely to Allegro vivace ordinary. terized by off-beat accents and series of the theme. Even when the embellishments Both the Op.27 Sonatas bear the title syncopations. By far the most substantial are considerable, as in Var.2, the melody “Quasi una fantasia” but, since the se- CD 9 movement is the finale, a Presto of is clearly discernible. Each variation em- cond one became universally known as Sonata in C sharp minor, Op.27 glittering pianism with ascending, frenzied ploys a particular aspect of technique with the ‘Moonlight’, only the Op.27 No.1 No.2 ‘Moonlight’ broken arpeggios and explosive accents diverse musical results. In the coda there work is known by the composer’s title. This Adagio sostenuto creating a breathless energy. The melodic appears an eloquent theme which is subtly Sonata marks a significant step by the Allegretto second subject is much elaborated on in related to the main one. The rapid Scher- composer to free himself from the classical Presto the development, but it is the rhythmical zo opens in the ‘wrong’ key and teases sonata pattern and he does it in drastic It was the critic Rellstab who declared that elements which prevail. Near the end throughout with its lively counterpoint and fashion. To start with, there is no break this Sonata made him think of moonlight there is a brilliant concerto-type cadenza off-beat accents. The smooth and soothing among the movements. The slow pace of on Lake Lucerne. Beethoven, who inciden- which, after it unwinds, leads to the final Trio is notable for having only two big the opening Andante in chamber music tally did not particularly care for this work, flourish of this dynamic and typically slurs, one of them 16 bars long. There style, with its precisely defined and regu- would probably have been horrified by Beethovenian movement. follows a weighty and harmonically da- lar phrase-lengths, is most uncommon and such a title as it hardly fits the brightness 24 25 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 26

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Sonata in D major, Op.28 as they recur again and again in different sudden shifts of tonality is pure magic. Ländlerische Tänze, there are no Trios ‘Pastoral’ guises. The ‘pastoral’ character is very Nos.4 and 6 are more like graceful and, apart from No.4 in the minor, they Allegro much the finale’s hallmark, despite some chamber music pieces while No.5 is a are all in D major. Also, all are brisk and Andante brilliant broken octaves and a virtuoso co- pianistically brilliant tour de force. The spirited and the coda, after No.6, brings Scherzo: Allegro vivace da. It is the gently rocking movement final, excitable Bagatelle is memorable for the set to a vigorous conclusion. Rondo: Allegro, ma non troppo which lingers in the memory. its off-beat accents, but particularly for the Composed in 1801, Op.28 is one of special long pedal effects. CD 10 the composer’s gentler works. The title Seven Bagatelles, Op.33 Six Variations in F major Op.34 “Pastoral”, although not stemming from Andante grazioso, quasi allegretto Klavierstück (Piano piece) in C major, ‘I am little satisfied with my works thus far; Beethoven but from the Hamburg pub- Scherzo allegro WoO54 ‘Lustig und traurig’ from today I shall adopt a new course.’ lisher August Cranz (who published the Allegretto (no tempo indication) This remark was made by Beethoven in work in 1838!), is certainly apt. Three of Andante The date of composition of this unusual 1802 to his violinist friend Krumpholz, the four movements express quiet lyricism Allegro, ma non troppo piece in two sections is uncertain. It could according to Czerny in his autobiography. and emotions of a tender nature. The Allegretto quasi Andante be 1798 or even several years later. Later that year, in a letter to the music Sonata is a far cry from the dynamism of Presto The first section moves smoothly in four- publishers Breitkopf und Härtel, Beethoven Sonatas like the “Appassionata” and the Dating from 1801-02 and published in part chordal writing and is marked ‘Lustig’ wrote: ‘I have composed two variation “Hammerklavier”. In the opening Allegro, 1803, these seven Bagatelles retain to a (‘Merry’) while the second, in the minor, is works … both are written in a quite new even the relatively energetic development large extent, but not completely, many of quicker-moving and declamatory in two style and each in an entirely different way. is a mild affair, hardly disturbing the calm, the characteristics of the classical period. parts and is marked ‘traurig’ (‘sad’). It is Each theme in them is treated indepen- melodic lines which govern the procee- The first is perhaps the most famous and very rare for Beethoven to indicate such dently and in a wholly different manner. dings. The Andante is unusual in having also appeals to many an amateur pianist. titles. As a rule, I only hear of it from others its main theme legato and the accompa- It is elegant and refined and not without when I have new ideas since I never know niment staccato. The seriousness of the fun. There follows a frantic Scherzo that Six Ländlerische Dances, WoO15 it myself; but this time, I myself can assure movement is happily relieved in a char- contains an episode in the minor with a This is the last time that Beethoven accep- you that in both works the style is quite ming and playful episode in the major. smooth melody in right-hand octaves and ted to compose dances for the annual new for me.’ His insistence on the ‘novel- The staccato element is also much in a Trio full of ascending scales in single festival at the Redoutensaal in November ty’ of Op.34 and Op.35 did not stem evidence in the brisk Scherzo and its Trio, notes and double thirds. The writing in 1802. Apart from the piano solo version, from any motive to help sell them but was and the descending octave intervals over No.3 is more modest, the plain melody WoO15 also exists in a version for two a firm belief. That which is noteworthy is four octaves acquire special significance being accompanied quite simply, but the violins and bass (cello). Like the WoO11 that the above comments were written 26 27 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 28

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only a fortnight after the ‘Heiligenstadt 15 Variations with a Fugue The work ends with decorated reap- which projects the composer’s lighter, Testament’, the composer’s famous despe- in E flat major, Op.35 ‘Eroica’ pearances of the principal theme and a tongue-in-cheek side. The piano accompa- rate admission that deafness brought him he ‘Eroica’ Variations were composed in short coda. That which is also a novelty is niments to the playful theme in this Rondo close to suicide. 1803, the year before the ‘Eroica’ Sym- the importance Beethoven gives to the are exceptionally innovative. However, it phony from which Op.35 gets its subtitle. bass line and its relationship to the theme; is perhaps the central slow movement, an In Op.34 the ‘new’ points are indeed The main theme is used in the Symphony’s they coexist, but also alternate as indivi- extended ‘aria’, which steals the show. highly rebellious. The composer offers a finale, but first appeared in Beethoven’s duals. In the final pages they unite in total The operatic flavour of the main theme series of pieces each of which is in a ballet Die Geschöpfe des Prometheus harmony and at the same time generate lends itself to admirable invention and different tonality, tempo, metre and Op.43 (1800-01) and also in the Kontre- enormous intensity and excitement. Op.35 embellishment and Beethoven revels in character! Each successive variation is in tänze WoO14. Thus, the work employs no contains just about everything: both or- coloratura and other vocal effects. The a key which is a third lower and we have new theme. Yet, the composer’s determina- chestral and vocal character, dance, aria, writing throughout is essentially pianistic, a very definite scheme: D major, B flat tion coupled with this vision to achieve canon, fugal writing, fantasy, pianistic but the expression is totally vocal. major, G major, E flat major, C minor. something ‘new’ has resulted in a work of innovations, virtuosity and much else. A Only Variation 6 is in F major; here, Beet- remarkable stature. unique masterpiece! Seven Variations on the hoven prolongs the length and then brings English folk tune “God save back the main theme which he now deco- At first, after the opening fortissimo chord, Sonata in G major, Op.31 No.1 the King” in C major, WoO78 rates elaborately and inventively. Before it is the bass part of the theme that is Allegro vivace George Thompson was an avid folk song that, Var.1 is also highly decorated and heard and the first three ‘variations’, for Adagio grazioso collector of his native Scotland whose aim remarkably distant from the theme and is two, three and four voices respectively, Rondo: Allegretto was to preserve his country’s traditional followed by a strongly rhythmical and are based on it after which the main It is surprising that this Sonata is not as music, and in 1803 he proposed to Beet- assertive Allegro ma non troppo. Var.3, theme at last makes its appearance. That well known as it deserves. Perhaps, if it hoven to write six sonatas based on Scot- with its continuous legato quavers, provides is certainly ‘new’! There follow fifteen had a name such as ‘Buffa’, then it might tish melodies. Even though this idea did some tranquillity and so does Var.4, a variations proper, rich in contrast, imagi- have achieved much popularity. ‘Buffa’ of not materialize, this was the beginning of classical but graceful minuet. As a com- nation and even humour, and abounding course refers to the operatic and comic a long and close contact between the two plete contrast, Var.5 is a funeral March of in numerous devices of pianistic virtuosity. elements which abound in this work. The men and the composer’s association with orchestral conception, extremely dark and The long Variation no.15 is a noble Largo delectable humour is particularly evident Britain. Apart from the variations on not without several fiery outbursts. with considerable ornamentation which in the first movement, with its rhythmical the English national anthem and ‘Rule leads to the Finale alla Fuga, a free three- twists and turns, chordal writing and fast Brittania’, he also made 150 adaptations part fugue on the bass part of the theme. passage-work, as well as in the Rondo of Scottish, Welsh and Irish songs. The 28 29 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 30

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structure of the 14-bar long melody of with vigour and an agitated anxiety. Not- the last to include a Minuet. Also unusual which convey “hunting” calls and, indeed, ‘God save the King’ is strictly adhered to able are the two recitatives at the start of is that there is no slow movement and, this Sonata has been aptly referred to as in the first six variations and these include the recapitulation creating, with the help instead, Beethoven offers a vigorous the ‘Jagd Sonate’ or ‘La Chasse’. a most ‘romantic’ and beautiful trans- of long pedals, an ethereal atmosphere. Scherzo. The biggest surprise, however, is formation of the theme in the minor key The Adagio is in sonata form but without the enchanting opening of the work. Sonata in C major, Op.53 ‘Waldstein’ in Var.5, marked ‘Con espressione’. In the development and, instead, the main sub- Starting with an ambiguous harmony, the Allegro con brio middle of the long and sparkling final ject on its return is highly embroidered. music glides chromatically, slows down Introduzione: Adagio molto variation the theme suddenly reappears in The widely-used left hand drum effect and then pauses before leading to the Rondo: Allegretto moderato tempo Adagio and is harmonized quite is original and potent and, far from tonic key. In fact, one can say that the This famous Sonata is dedicated to Count differently. The work concludes with a disturbing, it actually contributes to the whole movement is around rather than in Waldstein, for many years Beethoven’s sparkling coda. music’s noble and profound expression. E flat. The opening motif is much em- friend and benefactor, and was composed Even though the finale is a moto perpetuo ployed in the development and coda and in 1804, the same year as the ‘Eroica’ CD 11 of unbroken semiquavers, the Allegretto the whole movement is permeated by a Symphony. It is a large-scale work and Sonata in D minor, marking suggests not only a moderate sense of contentment and optimism. very much in the grand manner. The Op.31 No.2 ‘Tempest’ tempo but a more melodic and easy-going writing in the outer movements is admirab- Largo – Allegro approach. There are rhythmically explo- The indication of Scherzo here signifies ly pianistic and abounds in ingenious use Adagio sive episodes and persistent accentuation, primarily its character for it is in 2/4 of scales, arpeggios, chords and octaves Allegretto but the gentler mood prevails. rather than 3/4 time and in sonata form. (often broken), trills, brilliant passage-work When asked what the music of Op.31 Strongly rhythmical, with staccato accom- and many other keyboard effects. Indeed, No.2 meant, Beethoven replied: “Read Sonata in E flat major, paniment and numerous cross-accents, it unless the performer delves into the Shakespeare’s ‘Tempest’.” Although one Op.31 No.3 ‘Hunt’ sparkles with verve, vitality and humour. deeper layers of the music, one can easily cannot dismiss such a statement, it would Allegro The Menuetto harks back to the elegant give the impression of a technical and be equally inadvisable to read too much Scherzo: Allegretto vivace era of Haydn and Mozart, but the Trio musically superficial composition. into it. Completed in 1802 the Sonata Menuetto: Moderato e grazioso with its plethora of diminished 7th chords opens with an arpeggio and a four-note Presto con fuoco is innovative. Saint-Saëns was fascinated In the energetic and agitated first move- motif, in slow tempo, which is extensively Unusually, none of the Op.31 Sonatas by it and used its theme for a set of varia- ment, with its extended development and treated in the main Allegro section and the bear any dedication and this E flat Sonata tions for two pianos. The finale, based on coda there are, however, dolce passages highly-charged development (like a tem- is the last, apart from Op.106, which rapid and continuous rhythmic patterns, is such as the second subject, expressing pest!). Indeed, the movement is permeated contains more than three movements and a kind of ‘German tarantella’ with themes much poetry. The original slow movement 30 31 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 32

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was the piece now known as “Andante theme to such deep layers of profundity as the art of imitation that I feel sure that times dealing with two voices. The Trio is favori”, but Beethoven replaced it with this expressed in Var.1, is a miracle in itself! Bach himself would have approved! It is more energetic with its almost continuous very profound Introduzione, which leads He also finds an ironic wit in Var.4, in B mostly in three parts and the constant quaver quaver motion. In the coda, the last four without a break into the finale. The vigo- minor, and considerable humour in Var.5 movement is purposeful and dynamic. bars before the Trio are stated with hands rous episodes and the long but glittering with off-beat accents followed by a series reversed and the sources provide two Prestissimo coda of this Rondo contrast of unexpected modulations. He also Andante (favori) in F major, slightly different endings. perfectly to the lyrical main theme, pres- makes much fun of the rising five notes WoO57 ented pianissimo and with a murmuring first heard in the second bar of the theme. Andante grazioso con moto Sonata in F major, Op.54 accompaniment, one of the composer’s This Andante was originally intended as In Tempo d’un Menuetto most memorable melodies. This is a land- Minuet in E flat major, WoO82 the slow movement of the ‘Waldstein’ Allegretto mark work which demonstrates how far Moderato Sonata Op.53, but in the end Beethoven Op.54 is a short two-movement work that the composer had travelled from the music Probably composed in late 1803, this is decided that it was too long a movement stands between two grand Sonatas, the of Haydn and Mozart. one of Beethoven’s most noble Minuets. and replaced it. However, it was a piece “Waldstein” and the “Appassionata”, and He expresses in a very classical and digni- which he himself frequently performed in has often been unfairly viewed as a transi- CD 12 fied style and, in the Trio, makes good use society with great success, hence its title tional work. The first movement In tempo Five Variations on the English of a three-note motif. It is all very light and ‘Andante favori’. In form it is a rondo and d’un Menuetto is original in both content folk tune “Rule Brittania” simple, and the dialogue between the two the extended but amiable theme is subjec- and form. Its graceful principal theme in D major, WoO79 parts is charming. ted to much variation and decoration at is increasingly decorated at each This work is one of the results of Beet- each appearance. There is even a pro- appearance and the terse octaves and hoven’s close contact with George Thomson, Prelude in F minor, WoO55 longed and demanding double octave sixths, sempre forte e staccato, which rude- the Scottish folk song collector who was (no tempo indication) passage, but it is the delightful melodic ly interrupt it, do not quite manage to passionate about preserving his country’s This piece is so clearly in the style of elegance that remains in the memory. upstage its good-tempered nature. The traditional music. The Variations on ‘God Bach’s keyboard writing that one can only second movement is a fascinating moto save the King’ and on ‘Rule Brittania’ imagine that it was an outcome of young Bagatelle in C major, WoO56 perpetuo with an unbroken flow of semi- were offered at the same time in October Beethoven’s compositional studies. There Allegretto quavers and, remarkably, in only two 1803 and, interestingly, the composer are certainly similarities to Bach’s Prelude This is a kind of Minuet with Trio, pro- single voices almost throughout. After used both melodies again in his ‘Grand No.12 Book I of the Well-Tempered bably written in 1804 but not published numerous harmonic shifts, syncopations, Battle’ Symphony of 1813. How Beet- Clavier, also in the key of F minor, and so until 1888. The writing in the ‘Minuet’ is off-beat accents and witty dialogue, the hoven moves from the exuberance of the excellent is the composition with regard to sparse and unusual, with each hand some- music culminates in an exciting coda. 32 33 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 34

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Sonata in F minor Op.57 The slow movement is a theme and four Six Ecossaises, WoO83 Klavierstück (Piano piece) in A minor, ‘Appassionata’ variations and would hardly qualify as (no tempo indications) WoO59 ‘Für Elise’ Allegro assai ‘appassionato’. Indeed, the theme is re- The Ecossaise is a Scottish country dance, Poco moto Andante con moto poseful even if a little strangely contained. but French in origin. In 2/4 time, it is Since the manuscript of this most popular Allegro ma non troppo The variations are relatively simple apart danced in two lines, with men facing the of Beethoven’s pieces was found among It was the Hamburg publisher Cranz who from the third one, which exhibits some women. As the dance proceeds, couples the possessions of Therese von Malfatti, nicknamed Op.57 the ‘Appassionata’. agitation with its cross-accents and rapid advance to the head of the line. The struc- the title should perhaps read ‘Für Therese’ Completed in 1806, the work certainly ex- accompaniment. The movement ends on a ture of these six brief pieces is very sim- which in German characters resembles presses much passion and it may well be diminished chord, one of the most memo- ple: each one is in two parts of 16 bars ‘Elise’. It was discovered 40 years after an outpouring of emotions for, at that rable moments in Beethoven’s music, long, and the second part is a refrain, his death and is in ABACA rondo form. time, Beethoven was captivated by the which connects it to the finale, a tour de almost identical in all six. All are in E flat It is a kind of melodic moto perpetuo with Countess Therese von Brunswick as well force with almost continuous semiquaver major, mainly diatonic and generally two contrasting episodes, but without a as by her sister Josephine. That the work is motion. Ferdinand Ries, Beethoven’s close untypical of the composer’s style. coda. dedicated to their brother, Count von student, related how during a long walk Brunswick, is not significant. The opening his master was singing and humming in a 32 Variations in C minor, WoO80 CD 13 Allegro assai is conceived on a large totally indistinct and obscure manner. On Beethoven had a low opinion of these va- Fantasy in G minor, Op.77 scale and its themes are closely related, their return to the house, Beethoven rushed riations and did not assign it an opus num- Allegro - Allegro, ma non troppo - even though expressing widely different to the piano still with his overcoat on and ber. When he heard the piano maker Allegro con brio - Adagio - Presto - qualities. The first subject, for instance, is began to play what eventually emerged Streicher’s daughter practising them he Adagio - Allegretto subdued in character whilst the second as the main theme of this finale. After an asked her: “By whom is that?” “By you.” Beethoven possessed extraordinary powers has a positive and aristocratic flavour. The hour, Beethoven suddenly became aware “Such nonsense by me? Oh Beethoven, of improvisation and, according to sudden ff outbursts and other long and of Ries’ presence and was absolutely what an ass you were!” The eight-bar Czerny, ‘he knew how to produce such an brilliant passages, including an extended amazed that his pupil was still there. We theme, supported by a descending effect upon every listener that frequently cadenza, are impressively fiery, both can of course sympathize with the com- chordal progression, is followed by 32 not an eye remained dry, while many pianistically and emotionally. At the end poser’s problem in humming the rapid variations of many technical challenges, would break out into loud sobs; for there of the dazzling coda the music gradually theme and Ries’ difficulty to make sense of diverse moods and considerable musical was something wonderful in his expres- fades away (the composer writing a rare it! In this stirring moto perpetuo, it is the invention. The final variation is 50 bars sion in addition to the beauty and origi- ppp in the last bar). rhytmic impetus that prevails right through long and, after reaching a big climax, nality of his ideas and the spirited style to the riveting coda. concludes with two simple piano chords. of rendering them.’ This Fantasy offers, 34 35 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 36

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perhaps more than any other work of his, Six Variations in D major, Op.76 The brief and very fast Vivace contains The Allegro part of the first movement an admirable example of what his impro- ‘The Ruins of Athens’ some of Beethoven’s most leggiero and contains moments of exuberance as well visations might have been like. He expres- Music written in the ‘Turkish’ style was humorous writing. as reflection, references to the ‘good’ ses very freely, with an impressive series very popular at the time and Beethoven times before the parting. At the end, the of ideas and not bound by any limitation composed this Marcia alla turca around Sonata in E flat major, Op.81a ‘Lebewohl’ three-note motif is used exten- of form, tonality or mood. Only in the 1809. He first used it in these Op.76 ‘Les Adieux’ sively: it is a long ‘goodbye’. There latter part a noble melody in B major is Variations and later for the incidental Das Lebewohl (Les Adieux): follows ‘L’absence’, as desolate an expres- treated to a regulated set of variations. music to the play The Ruins of Athens by Adagio – Allegro sion as one may find in all music. The This is one of his most remarkable master- August von Kotzebue. The energy of the Abwesenheit (L’Absence): loneliness is almost unbearable, only pieces. rhythmically vigorous theme is maintained Andante espressivo momentarily relieved by ‘happy’ remi- almost throughout this work and only in Das Wiedersehen (Le Retour): niscences. The transition to ‘Le retour’ is Sonata in F sharp major, Op.78 Var.1 and Var.4 smoother lines are employed. Vivacissimamente especially beautiful and the finale itself Adagio cantabile The work concludes with a lengthy Var.6 Composed in 1809 on the occasion of the is one of Beethoven’s most joyous pro- Allegro vivace followed by a restatement of the theme, Archduke Rudolph’s departure from nouncements. The reunion with the “be- The Sonatas Op.78 and Op.79, both but with an added ending. Vienna, the Sonata ‘Das Lebewohl’, but loved” is indeed blissful, the rapid and composed in 1809, are short and the better known in its French title ‘Les exhilarating writing throughout giving the pianism is rather modest when compared Sonata in G major, Op.79 Adieux’, has indeed the first movement so impression that nothing is kept back. to that of the ‘Waldstein’ and ‘Appas- Presto alla tedesca entitled. Above the first three notes of its sionata’ works, dating from a few years Andante slow and sad opening, the composer Polonaise in C major, Op.89 earlier. And yet, there is much to enjoy for Vivace wrote the words: Le-be-wohl. Even though Alla Polacca, vivace different reasons. Op.78 is in two move- In complete contrast to Op.78, this G the work is dedicated to the Archduke, It was Dr. Bertolini, friend and physician ments only and the first, with its almost major Sonata is light and entertaining. one cannot rule out that for Beethoven the of Beethoven, who suggested to him to uninterrupted flowing motion in either Its simple first movement, Presto alla cause of its inspiration may have been of write a polonaise, which was then much melodic or accompanying mode, is tedesca, captivates with its tongue-in-cheek a more personal nature. As his pupil in fashion, and dedicate it to the Empress serious and thoughtful. The second move- approach and also with the on and off the Ferdinand Ries tells us, he was often in of Russia. Beethoven resisted at first, but ment, also characterized by fine, rapid beat accents. The Andante, even though in love but usually for short periods. On rare he did compose his only Polonaise in passage-work, is rather capricious and the tonic minor, conveys no sadness but occasions this state lasted longer, several 1814 and presented it to the Empress contains a number of unexpected turns. rather a reflective mood, and its middle months! Certainly, the music of Op.81a Elizabeth Alexeievna, in Vienna, who section in the major is suddenly operatic. invites a romantic scenario. remunerated him handsomely. The caden- 36 37 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 38

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za-type introduction leads to a dolce but do form, ‘Not too fast, and to be played exclusively reserved for Op.106. The coda with the fugue subject, this fasci- lively main theme, accompanied by a very songfully’, is one of the composer’s relatively short first movement, with its nating masterpiece closes with a sudden spirited polonaise rhythm. There are two most amiable and soothing utterances and beautifully sculpted legato phrases, indeed vigorous outburst of rising chords. contrasting episodes and a lengthy but very much reminiscent of Schubert (com- expresses the innermost of feelings. Its fine coda. This unusual composition may pare the latter’s E minor Sonata D566, series of syncopations are riveting and the Sonata in B flat major, Op.106 well have influenced Chopin. second movement, also in E major). It is final cadence is one of the composer’s ‘Hammerklavier’ Beethoven in his most lyrical vein with the most magical. The impatience and restless- Allegro Sonata in E minor, Op.90 song-like principal theme and its suave ness of the rapid March that follows, with Scherzo: Assai vivace Mit Lebhaftigkeit und durchaus accompaniment permeating throughout. its jerky figures in dotted rhythm, is like a Adagio sostenuto mit Empfindung und Ausdruck, shock to the system. The rhythmical drive Largo - Allegro risoluto Nicht zu geschwind und CD 14 is gloriously effective with hardly anything The ‘Hammerklavier’ Sonata Op.106, sehr singbar vorgetragen Sonata in A major, Op.101 approaching lyricism. This is reserved for so-called because it was written for the In this Sonata, dedicated to Count Etwas lebhaft und the smooth trio, marked dolce, mostly writ- new, at that time, grand piano bearing Lichnowsky, one of the composer’s aristo- mit der innigsten Empfindung ten in two-part canon. this name and describing its action, is cratic friends who at that time was en- Lebhaft. Marschmässig Beethoven’s longest and grandest. The im- gaged to be married, Beethoven rejected Langsam und sehnsuchtvoll The very slow but profound third move- posing Allegro is as majestic as anything the use of the usual Italian directions for Geschwinde, doch nicht zu sehr, ment also serves as a kind of introduction he ever wrote and, pianistically, it has detailed ones in German. One may trans- und mit Entschlossenheit to the finale and is infused with the most everything: brilliant passage-work, chor- late the opening movement’s instruction as Op.101 is among the jewels of the 32 poignant expression of pain. There ensues dal and fugato writing, trills, double octa- ‘lively, and with inner feeling and expres- Sonatas and is dedicated to Baroness a surprise statement of the first movement’s ves as well as melodic passages of dolce sion throughout’. There is a sense of im- Dorothea von Ertmann of whom Beet- principal subject before the exuberant and cantabile expression. It is Beethoven patience too, since the home tonality is left hoven thought most highly as a keyboard finale gets under way. This is Beethoven in at his most dynamic. The brief Scherzo is immediately and is not established until player. She was a patron and close friend a happy state of mind with captivating based on a sprightly four-note motif used bar 24! Even though the material is prima- of the composer’s and when she was grief- and amusing rhythms and melodies. The throughout, whilst the trio in the minor key rily melodic, the series of short phrases stricken and on the verge of insanity over central free four-part fugue, based on the provides smoother lines and sometimes in and the occasional abrupt key changes the loss of a child, he saved her reason by main theme and displacing the normal ingenious canon. Before the return of the and modulations as well as some rhythmic playing to her. The Sonata is the first of development, is as unexpected as it is Scherzo, there is a short but enormously passages, all give a taste of restlessness. only two for which Beethoven used the serious. However, the playful mood returns spirited Presto section. By contrast, the second movement in ron- term Hammerklavier, although this is now and, even though Beethoven teases in the 38 39 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 40

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The slow movement is the longest and, 11 Neue Bagatellen, Op.119 CD 15 the ‘eternal beloved’ and possibly the only perhaps, the most deeply expressive Allegretto Klavierstück (Piano Piece) in B flat woman to return his love. Structurally, it among all the Sonatas. The composer Andante con moto major, WoO60 is a most astonishing work for it is totally demands “appassionato e con molto à l’Allemande Ziemlich lebhaft built on the interval of the third, sometimes sentimento” and “con grand’espressione”. Andante cantabile This short piano piece was written on the with a passing note. Wherever one looks, The florid writing in the middle is exceptio- Risoluto afternoon of 14 August 1818, probably one is amazed by the inherent discipline nally rhapsodic and ravishing, as is each Andante – Allegretto for the young Polish pianist and composer with which the composer employs this moment the music shifts into G major, Allegro, ma non troppo Maria Szymanowska, and is a kind of im- interval. It is there in all three movements evidently a tonality of special meaning to Moderato cantabile provisatory bagatelle. In the first half no and sometimes in several voices, especially the composer. There follows a Largo, Vivace moderato less than four different and rather un- in the theme and the six variations of the fi- which serves as introduction to the finale, Allegramente related ideas are presented, mostly jerky nale. This level of mastery establishes him as which is a most extraordinary futuristic Andante, ma non troppo and enigmatic, but the fourth is poetic. one of the very greatest of musical architects. fugue of gigantic proportions. The very The first five Bagatelles were sketched by Three of them are admirably developed in fast metronome indication, also in the first the end of 1803, but the last five were not what can only be described as a futuristic In the first movement he overthrows the movement, has been the subject of intense composed until 1820 and No.6 in late piece or sketch. usual approach to sonata form and, in- discussion and may well be slightly im- 1822. All eleven Bagatelles were first stead, expresses freely within two contras- precise since the composer’s direction is published as one collection in England by Sonata in E major, Op.109 ting tempi. The recitative-like Andante Allegro risoluto rather than Presto. The Clementi in 1823. Some of the pieces are Vivace, ma non troppo – espressivo sections are harmonically enga- writing is that of a free fugue and is as very brief with No.10 lasting just 12 se- Adagio espressivo – Tempo I – ging whilst the Prestissimo, which follows much a pianistic as well as compositional conds, but there are a few substantial Adagio espressivo – Tempo I without a break. is frenetic and restless tour de force. In many ways it is the ones. Technically, they are not as deman- Prestissimo almost throughout. By far the most substan- ultimate challenge for the pianist and there ding as the Bagatelles Op.33 or Op.126 Gesangvoll, mit innigster Empfindung tial movement is the third and it is one of are passages which still sound ‘contem- and are generally lighter in character. After the majestic, fiery and extrovert Beethoven’s finest. Technically the crafts- porary’ and will never be dated! There is, however, a wide variety of ex- qualities of the ‘Hammerklavier’, Beet- manship of the variations is astounding pression: plenty of charm and wit, deep hoven returns here to more intimate, gent- and displays rare ingenuity and brilliance. seriousness, a waltz and much else. For ler and lyrical expressions. Op.109 dates However, it is the heart-warming and sub- sure, composing these pieces must have from 1820 and is dedicated to Maximilia- lime lyrical essence, especially at the been a welcome relief for Beethoven, after ne Brentano, daughter of his long-standing restatement of the theme at the very end, the exertions of Op.101 and Op.106! friend Antonie Brentano who was perhaps that touches the soul. 40 41 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 42

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Sonata in A flat major, Op.110 and cascades of descending runs in the many ways this final Sonata sums up his Var.4 the music returns to the higher Moderato cantabile molto espressivo central section. It concludes with a series vast experience gathered over some 28 spheres with some entrancingly transpa- Allegro molto of imposing, syncopated chords ending in years of sonata writing. The imposing rent writing in the upper register. In the Adagio ma non troppo - Arioso dolente - F major and which lead without a pause Maestoso opening, with its extraordinary final pages, trills become vitally important Fuga: Allegro ma non troppo - to the finale in the distant key of B flat and dramatic diminished 7th intervals and as a means of expression (rather than L’istesso tempo di Arioso minor. From this point on, the composer chords, is clothed in wisdom in both its effect) and after some emotionally power- - L’istesso tempo della Fuga poi a proceeds totally unconventionally. After cataclysmic and serene moments. It admirably ful climaxes this unique masterpiece ends poi di nuovo vivente - Meno Allegro the deeply solemn recitative there is a prepares the Allegro con brio, which is in utter simplicity. (poi a poi più moto) mournful but exquisitely beautiful Arioso based on a 3-note motif deriving from This penultimate Sonata of 1821 is also and this is followed by a Fugue using as the very first bar. Strong, stormy and Klavierstück (Piano Piece) constructed on the interval of the third subject three series of ascending fourths passionate in expression, Beethoven’s wri- in B minor, WoO61 and, at the start, by having a succession and a descent step-wise (which is another ting is often two-part, fugal and in double Allegretto of thirds the interval of the fourth is fourth with passing notes), the same notes counterpoint mode (reversing the position This piece of 1821 is dedicated to the formed. This series of fourths already first heard at the opening of the Sonata. of the parts). The brief and poetic second composer’s friend and amateur musician announces the melodic line that will be- Then there is a second Arioso which leads subject is in sharp contrast to the high- Ferdinand Piringer for an album of compo- come the subject of the Fugues of the third to the second Fugue with the subject in powered intensity of the rest of the sitions, mostly of light character. However, movement. The form of the opening Mode- inversion. This outstanding masterpiece material and the movement concludes with there is nothing ‘light’ about this rato, especially when compared to that of concludes with a majestic, impassioned a new and soothing melody, which ends fine piece. Beethoven employs a lot of Op.109, is very orderly and the writing is and luminous coda. in the tonic major, thus preparing both the imitation and double counterpoint and the sometimes in the style of chamber music, tonality and atmosphere of the Arietta. writing is in the style of chamber music, sometimes in ‘singing’ mode with un- Sonata in C minor, Op.111 In this final movement the simple song especially in the suave ‘trio’. Piringer must complicated accompaniment and else- Maestoso - Allegro con brio theme is elevated in Beethoven’s hands to have been delighted with such a special where in intriguing dialogue. At the end of ed appassionato exalted spheres few composers have ap- offering! the movement, once again Beethoven Arietta: Adagio molto semplice proached. The ethereal tranquillity gradu- states clearly the Fugue subject. e cantabile ally gives way to more earthly pastures as Op.111 was originally dedicated to each of the first three variations becomes The brief but agitated scherzo that follows, Archduke Rudolf, the composer’s pupil, progressively quicker, more active and in F minor and in simple ABA form, is pri- friend and patron, but Clementi’s edition rhythmically intense - Var.3 even revealing marily rhythmical and full of syncopations has Antonie Brentano as the dedicatee. In something of the later language of jazz. In 42 43 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 44

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CD 16 Giovanni is simply a stroke of genius, and Six Bagatelles, Op.126 cipal motif is heard over a pedal point. 33 Variations on a Waltz there are different kinds of humour in Andante con moto One could say that it is an expression of by Anton Diabelli Op.120 Vars.9, 13, 15, 19, 25 and elsewhere. Allegro eternity. Anton Diabelli wished to make his pub- Of course, the composer also explores the Andante lishing firm more widely known and had waltz in a very serious fashion too and the Presto Waltz in E flat major, WoO84 an extraordinary idea: he composed a epitome is the great Largo, molto espres- Quasi allegretto (no tempo indication) waltz and sent it to 50 well-known compo- sivo of Var.31. In this most wonderful of Presto – Andante amabile e con moto Written on 21 November 1824 for the sers requesting that each one writes one arias, much decorated, Beethoven ex- This collection of Bagatelles was very Viennese publisher Carl Friedrich Müller, variation as a contribution to a grand presses his innermost world, a world of much conceived as one integrated work who specialized in light music publica- published collection. The composers the loftiest and deepest emotions. Indeed, and even the order of the pieces was tions, this stylish waltz is harmonically responded and included Schubert, in several other variations he provides specified precisely. Completed in 1824, it simple and with a conventional accompa- Czerny, Hummel, Moscheles and the much poetry, irresistible lyricism and is Beethoven’s last major piano work and, niment. However, there is nothing conven- 12-year-old Liszt. Beethoven, however, elegance. Also, many variations are when offering it to the publisher Schott, he tional about its Trio where the composer’s responded rather differently. The trivial extremely brilliant and demand a discip- declared that this was the best thing of its special pedal effects and deliberate waltz somehow stimulated something lined virtuoso technique. Var.32 is an kind that he had ever written! As in the sforzandi create a memorable atmosphere. within him which eventually led to a agile and resolute Fugue, followed by a Op.33 and Op.119 Bagatelles, there is a gigantic conception of one of the longest smoother part of running quavers which great variety of characterization and ex- Klavierstück (Piano piece) in G minor, and greatest works in piano literature. It leads to a short cadenza that acts as a perimentation. Nos.2 and 4 are quick, WoO61a took several years to complete and, in the bridge to the final variation. This Menuetto lively pieces of enormous rhythmical vita- Allegretto quasi Andante end, Diabelli’s publication was in two is the most exquisite distillation of lity whilst Nos.1, 3 and 6 explore the This very short piece was written on 27 parts: Beethoven’s 33 Variations in Part I Diabelli’s waltz. We have been travelling deeper strands of emotions with an almost September 1825 with the dedication and all the others in Part II. for 50 minutes and now the composer nonchalant nobility. In all six Bagatelles, ‘Comme un souvenir à Sarah Burney ‘celebrates’ life with sublime simplicity. one senses that the composer is the com- Payne’. Sarah’s grandfather was Charles It is clear that Beethoven saw unlimited plete master of his material and is expres- Burney whose book ‘General History of possibilities for development in the comic sing freely, without formal restrictions. Music’ was part of Beethoven’s library. elements of the waltz and, indeed, the Furthermore, the strong feeling is that of a She visited the composer on 27 September work abounds with wit, satire and ‘philosophical’ reflection on life, especially and may well have received this gift on the allusion. The reference in Var.22 to ‘Notte in the final Andante amabile e con moto same day. It may be short, but it is a capti- e giorno faticar’ from Mozart’s Don where, in one place for 12 bars, the prin- vating miniature and full of imitation. 44 45 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 46

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Waltz in D major, WoO85 MARTINO TIRIMO the world with most major orchestras Ecossaise in E flat major, WoO86 Regarded by both critics and fellow artists such as the Vienna Philharmonic, Dresden (no tempo indications) as one of today’s most distinguished Staatskapelle, Leipzig Gewandhaus, Both these short pieces were composed in musicians, Martino Tirimo’s career started Cleveland Orchestra, London Symphony, 1825 and, like the Waltz WoO84, were early. From age eight he was performing Philharmonia and numerous others and published by Carl Friedrich Müller in a Concertos and at twelve conducted seven has worked with such conductors as collection of light music. Both are just 16 complete performances of ‘La Traviata’, Barbirolli, Boult, Bychkov, Klee, Marriner, bars long and they are the last piano with οrchestra and soloists from La Scala, Masur, Norrington, Rattle and Kurt pieces that Beethoven wrote. In the Milano. Born in Cyprus into a musical Sanderling. elegant Waltz, there is a continuous family, he first studied piano and violin flow of right-hand semiquavers with his father, a distinguished violinist His numerous recordings for EMI, Warner, and an interchange between and opera conductor. After winning the BMG, Nimbus and other companies in- piano and forte. The Ecossaise, Liszt Scholarship to the Royal Academy of clude the complete works of Mozart, just like the Six Ecossaises Music in London, he studied there and Debussy, Janacek, Schubert’s 21 Sonatas

WoO83, is also in E flat graduated with the highest honours, win- and the Concertos of Brahms, Chopin,

and harmonically very ning all prizes. He completed his studies Mozart, Rachmaninov and Tippett (with simple. Thus, Beethoven’s in Vienna and finally with the eminent composer conducting), with London Phil- enormous and hugely Gordon Green, whom he regarded as his harmonic, Philharmonia, BBC Philharmo- significant piano out- greatest mentor. Victories at the interna- nic and Prague Chamber orchestras. In put comes to an tional competitions in Munich and Geneva 1995 he won a Gold Disc for his Rach- end with disarming launched his international career. maninov Concerto No.2 and ‘Paganini’ naturalness. Rhapsody, one of EMI’s best-sellers.

In 2010 alone, he gave more than 100 concerts including the complete works of As conductor he worked closely with the

Chopin at London’s Kings Place, des- Dresden Philharmonic over many years,

cribed by critics as “a colossal feat”. His and also worked with orchestras such Copyright, playing is often compared to that of as the English Chamber, Academy of St. Martino Tirimo, Schnabel, Arrau, Rubinstein and other Martin in the Fields and Prague Chamber. February 2019 great pianists. He has performed all over His compositions include the film score for 46 47 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 48

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the ‘Odyssey’. In 2002 he founded the concerts in Asia, notably China and CD 1 19. III. Scherzando: Rosamunde Trio, which has since con- Japan. In 2011 he was awarded the Nine Variations in C minor on a Allegro ma non troppo 2:37 certized widely in Europe and the US. He Nemitsas Foundation Prize for Excellence March by Ernst Christoph Dressler, also works with talented young pianists in the Arts and Sciences. WoO63 Rondo D major, WoO48 and twelve of his students have won first 1. Variation I 1:22 20. Allegretto 3:02 prizes at international competitions. More- “A formidable virtuoso and one 2. Variation II 1:12 over, he is in great demand for master- with unmistakeable magnetism.” 3. Variation III 1:09 Rondo A major, WoO49 classes worldwide, most recently at festi- The Guardian 4. Variation IV 1:09 21. Allegretto 2:40 vals in Japan, China, the USA and Italy. “His playing rightfully places Beethoven 5. Variation V 1:08 at the pinnacle of philosophers in music. 6. Variation VI 1:24 Sonatina in G major, His enormous repertoire embraces 80 His [Tirimo’s] qualities are rarities nowadays” 7. Variation VII 1:32 Kinsky-Halm Anh.5 No.1 Concertos and nearly the entire major “A true giant of the keyboard” 8. Variation VIII 1:10 22. I. Moderato 1:37 solo works of the great composers. He is Musical Opinion 9. Variation IX 1:12 23. II. Romanze 1:51 particularly famous for his Schubert inter- “Illuminating and masterly Beethoven” 10. Variation X 1:56 pretations, having given the first ever cycle “A pianist of vision” Sonatina in F major, of all the Sonatas at London’s South Bank “His playing is among the most haunting Sonata in E flat major, Kinsky-Halm Anh.5 No.2 and many other series at Wigmore Hall and fascinating of all and the acme of WoO47 No.1 24. I. Allegro assai 1:36 and Kings Place, devoted to all the com- musical refinement.” 11. I. Allegro cantabile 3:36 25. II. Rondo: Allegro 2:37 poser’s major works. His edition of the 21 “Tirimo is an inspiring poet of the piano” 12. II. Andante 4:49 Sonatas in three volumes is published by The Daily Telegraph 13. III. Rondo vivace 3:06 Minuet in F major, WoO217 Wiener Urtext Edition. Other notable “Tirimo’s playing belongs to a past 26. (no tempo indication) 2:03 events include many series devoted to generation of ‘greats’. Listening to him, Sonata in F minor, WoO47 No.2 Mozart’s complete piano works, Beet- I conjure up aural images of Solomon, 14. I. Larghetto maestoso – Allegro 5:21 Andante C major, WoO211 hoven’s 32 Sonatas and all of Chopin’s Arrau, Kempff, Serkin, Schnabel and 15. II. Andante 4:26 27. Andante 1:00 and Debussy’s works. With the Rosamun- Rubinstein. Throughout the evening, 16. III. Presto 3:06 de Trio he has performed all the Mozart, one was consistently aware that this Two movements of a Sonatina Beethoven, Mendelssohn, Brahms, Dvorak supreme musician placed himself Sonata in D major, WoO47 No.3 in F major, WoO50 and Shostakovich Piano Trios. In recent entirely at the service of the composer” 17. I. Allegro 5:51 28. (no tempo indication) 1:09 years his solo tours have included many Music and Vision 18. II. Menuetto sostenuto 7:39 29. Allegretto 0:41 48 49 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 50

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Two Preludes C major, Op.39 17. V ariation IX 0:45 13 Variations on the Arietta 62. German Dance IX 1:36 30. (no tempo indication) 4:40 18. Variation X 0:34 ‘Es war einmal ein alter Mann’ 63. German Dance X 1:26 31. (no tempo indication) 2:26 19. Variation XI 0:34 from the Singspiel “Das rote 64. German Dance XI 1:21 20. Variation XII 0:46 Käppchen” by Carl Ditters von 65. German Dance XII 2:19 Total time: 79:25 21. Variation XIII 0:42 Dittersdorf in A major, WoO66 22. Variation XIV 1:36 40. Theme 0:47 Seven Variations on the Quartet CD 2 23. Variation XV 0:44 41. Variation I 0:46 ‘Kind, willst du ruhig schlafen’ Six Easy Variations on a 24. Variation XVI 0:53 42. Variation II 0:46 from the opera “Das unterbrochene Swiss Air in F major, WoO64 25. Variation XVII 0:52 43. Variation III 0:52 Opferfest” by Peter Winter 1. Theme 0:22 26. Variation XVIII 0:40 44. Variation IV 0:40 in F major, WoO75 2. Variation I 0:20 27. Variation XIX 0:38 45. Variation V 0:53 66. Theme 1:07 3. Variation II 0:20 28. Variation XX 0:39 46. Variation VI 0:57 67. Variation I 1:07 4. Variation III 0:39 29. Variation XXI 0:40 47. Variation VII 0:50 68. Variation II 1:12 5. Variation IV 0:17 30. Variation XXII 0:47 48. Variation VIII 0:46 69. Variation III 1:10 6. Variation V 0:22 31. Variation XXIII 3:31 49. Variation XI 0:49 70. Variation IV 1:10 7. Variation VI 0:29 32 Variation XXIV 2:20 50. Variation X 0:51 71. Variation V 1:18 51. Variation XI 0:53 72. Variation VI 1:12 24 Variations on the Arietta Seven Kontretänze WoO14 52. Variation XII 1:53 73. Variation VII 3:33 ‘Venni amore’ by Vincenzo 33. Kontretanz I 0:36 53. Variation XIII 1:21 Maria Righini in D major, WoO65 34. Kontretanz II 0:43 Allemande A major, WoO81 8. Theme 0:37 35. Kontretanz III 0:39 12 German Dances, WoO13 74. (no tempo indication) 1:39 9. Variation I 0:37 36. Kontretanz VI 1:23 54. German Dance I 1:11 10. Variation II 0:39 37. Kontretanz V 0:53 55. German Dance II 1:09 Total time: 76:02 11. Variation III 0:34 38. Kontretanz VI 0:37 56. German Dance III 1:15 12. Variation IV 0:52 39. Kontretanz VII 1:21 57. German Dance IV 1:13 13. Variation V 0:48 58. German Dance V 1:25 14. Variation VI 0:39 59. German Dance VI 1:24 15. Variation VII 0:48 60. German Dance VII 1:18 16. Variation VIII 0:53 61. German Dance VIII 1:15 50 51 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 52

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CD 3 19. Variation VI 0:26 16. Variation III 0:59 Six Variations on the duet Sonata F minor, Op.2 No.1 20. Variation VII 0:29 17. Variation IV 1:05 ‘Nel cor più non mi sento’ 1. I. Allegro 6:17 21. Variation VIII 0:28 18. Variation V 0:53 from the opera “La Molinara” 2. II. Adagio 5:15 22. Variation IX 1:38 19. Variation VI 1:08 by Giovanni Paisiello in G major, 3. III. Menuetto: Allegretto 4:02 20. Variation VII 1:02 WoO70 4. IV. Prestissimo 5:38 Total time: 80:16 21. Variation VIII 1:00 38. Theme 0:38 22. Variation IX 0:56 39. Variation I 0:41 Sonata A major, Op.2 No.2 CD 4 23. Variation X 0:58 40. Variation II 0:40 5. I. Allegro vivace 7:23 12 Minuets, WoO7 24. Variation XI 1:00 41. Variation III 0:40 6. II. Largo appassionato 6:44 1. Minuet I 2:02 25. Variation XII 2:45 42. Variation IV 0:49 7. III. Scherzo: Allegretto 3:58 2. Minuet II 1:59 43. Variation V 0:42 8. IV. Rondo: Grazioso 7:03 3. Minuet III 1:43 12 German Dances, WoO8 44. Variation VI 1:25 4. Minuet IV 2:00 26. German Dance I 0:27 Sonata C major, Op.2 No.3 5. Minuet V 1:54 27. German Dance II 1:08 Alla Ingharese quasi un 9. I. Allegro con brio 11:23 6. Minuet VI 2:10 28. German Dance III 1:17 Capriccio in G major, Op.129 10. II. Adagio 6:56 7. Minuet VII 2:03 29. German Dance IV 1:20 (‘Rage over a lost penny, 11. III: Scherzo: Allegro 3:39 8. Minuet VIII 2:04 30. German Dance V 1:27 vented in a Caprice’) 12. IV. Allegro assai 6:00 9. Minuet IX 2:06 31. German Dance VI 1:22 45. (no tempo indication) 7:11 10. Minuet X 2:27 32. German Dance VII 1:13 Nine Variations on the theme 11. Minuet XI 1:53 33. German Dance VIII 1:22 Bagatelle in C minor, WoO52 ‘Quant’è più bello’ from the opera 12. Minuet XII 2:04 34. German Dance IX 1:12 46. Presto 4:21 “La Molinara” by Giovanni 35. German Dance X 1:14 Paisiello in A major, WoO69 12 Variations on the 36. German Dance XI 1:22 Rondo in B flat major, 13. Theme 0:27 ‘Menuett à la Viganò’ from the 37. German Dance XII 3:13 Kinsky-Halm Anh.6 14. Variation I 0:27 ballet “Le nozze disturbante” 47. (no tempo indication) 6:06 15. Variation II 0:27 by Jakob Haibel in C major, WoO68 16. Variation III 0:29 13. Theme 0:54 Total time: 79:04 17. Variation IV 0:27 14. Variation I 0:49 18. Variation V 0:27 15. Variation II 0:52 52 53 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 54

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CD 5 18. Minuet IV 1:57 CD 6 CD 7 Sonata in G major, Op.49 No.2 19. Minuet V 2:02 Rondo in C major, Op.51 No.1 Sonata in C minor, Op.13 1. I. Allegro, ma non troppo 4 :59 20. Minuet VI 2:06 1. Moderato e grazioso 6:53 ‘Pathétique’ 2. II. Tempo di Menuetto 3 :36 1. I. Grave - 12 Variations on the Sonata in E flat major, Op.7 Allegro di molto e con brio 11:36 Eight Variations on the theme Russian Dance from the ballet 2. I. Allegro molto e con brio 8:58 2. II. Adagio cantabile 5:26 ‘Une fièvre brûlante’ from the “Das Waldmädchen” 3. II. Largo, con gran espressione 8:21 3. III. Rondo: Allegro 4:55 opera “Richard Coeur de Lion” by Paul Wranitsky 4. III. Allegro 5:50 by André-Ernest-Modeste Grétry in A major, WoO71 5. IV. Rondo: Rondo in G major, Op.51 No.2 in C major, WoO72 21. Theme 0:47 Poco Allegretto e grazioso 7:32 4. Andante cantabile e grazioso 10:08 3. Theme 0:36 22. Variation I 0:48 4. Variation I 0:37 23. Variation II 0:44 Allegretto in C minor, WoO53 Sonata in E major, Op.14 No.1 5. Variation II 0:37 24. Variation III 0:44 6. Allegretto 4:15 5. I. Allegro 6:33 6. Variation III 0:47 25. Variation IV 0:46 6. II. Allegretto 3:49 7. Variation IV 0:50 26. Variation V 0:50 Easy Sonata in C major, WoO51 7. III. Rondo: Allegro comodo 3:31 8. Variation V 0:47 27. Variation VI 0:50 7. I. Allegro 3:21 9. Variation VI 0:44 28. Variation VII 0:41 8. II. Adagio 3:00 Sonata in G major, Op.14 No.2 10. Variation VII 0:47 29. Variation VIII 0:51 8. I. Allegro 7:23 11. Variation VIII 1:47 30. Variation IX 0:43 Sonata in D major, Op.10 No.3 9. II. Andante 4:30 31. Variation X 0:39 9. I. Presto 7:38 10. III. Scherzo: Allegro assai 3:45 Sonata in C minor, Op.10 No.1 32. Variation XI 0:45 10. II. Largo e mesto 9:18 12. I. Allegro molto e con brio 6:00 33. Variation XII 3:30 11. III. Menuetto: Allegro 3:00 10 Variations on the theme 13. II. Adagio molto 8:06 12. IV. Rondo: Allegro 4:28 ‘La stessa, la stessissima’ from the 14. II. Finale: Prestissimo 4:56 Sonata in F major, Op.10 No.2 opera “Falstaff” by Antonio Salieri 34. I. Allegro 9:40 Sonata in G minor, Op.49 No.1 in B flat major, WoO73 Six Minuets, WoO10 35. II. Allegretto 4:13 13. I. Andante 3:41 11. Theme 0:48 15. Minuet I 1:57 36. III. Presto 4:35 14. II. Rondo: Allegro 3:36 12. Variation I 0:41 16. Minuet II 2:21 13. Variation II 0:43 17. Minuet III 2:13 Total time : 79:09 Total time: 79:59 14. Variation III 0:40 54 55 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 56

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15. Variation IV 0:41 CD 8 Sonata in A flat major, Op.26 CD 9 16. Variation V 0:47 Seven Ländlerische Dances, 19. Andante con Variazioni. Theme 1:18 Sonata in C sharp minor, 17. Variation VI 0:41 WoO11 20. Andante con Variazioni. Var. I 1:17 Op.27 No.2 ‘Moonlight’ 18. Variation VII 0:39 1. Dance I 0:28 21. Andante con Variazioni. Var. II 1:03 1. I. Adagio sostenuto 5:44 19. Variation VIII 0:50 2. Dance II 0:28 22. Andante con Variazioni. Var. III 1:07 2. II. Allegretto 2:29 20. Variation IX 0:43 3. Dance III 0:27 23. Andante con Variazioni. Var. IV 1:04 3. III. Presto 9:00 21. Variation X 3:47 4. Dance IV 0:27 24. Andante con Variazioni. Var. V 1:56 5. Dance V 0:28 25. Scherzo: Allegro molto 3:19 Sonata in D major, Op.28 ‘Pastoral’ Eight Variations on the Trio 6. Dance VI 0:28 26. Marcia Funebre 7:32 4. I. Allegro 10:53 ‘Tandel und Scherzen’ from the 7. Dance VII 1:11 27. Allegro 3:14 5. II. Andante 7:56 opera “Soliman II or The three 6. III. Scherzo: Allegro vivace 2:24 Sultaninnen” by Franz Xaver Sonata in B flat major, Op.22 Sonata in E flat major, 7. IV. Rondo: Süssmayr in F major, WoO76 8. I. Allegro con brio 8:36 Op.27 No.1 Allegro, ma non troppo 5:55 22. Theme 0:32 9. II. Adagio con molta ‘Quasi una fantasia’ 23. Variation I 0:34 espressione 7:52 28. I. Andante – Allegro – Tempo I 5:49 Seven Bagatelles, Op.33 24. Variation II 0:37 10. III. Menuetto 4:03 29. II. Allegro molto e vivace 2:23 8. Andante grazioso, 25. Variation III 0:38 11. IV. Rondo: Allegretto 6:43 30. III. Adagio con espressione 3:06 quasi allegretto 3:57 26. Variation IV 0:38 31. IV. Allegro vivace 6:07 9. Scherzo allegro 3:11 27. Variation V 0:39 Six Easy Variations 10. Allegretto 2:22 28. Variation VI 0:44 on an original theme Total time: 78:14 11. Andante 3:13 29. Variation VII 1:56 in G major, WoO77 12. Allegro, ma non troppo 3:21 30. Variation VIII 2:10 12. Theme 1:08 13. Allegretto quasi Andante 2:36 13. Variation I 0:59 14. Presto 2:19 Total time: 81:21 14. Variation II 0:53 15. Variation III 0:54 Piano piece in C major, WoO54 16. Variation IV 1:11 ‘Lustig und traurig’ 17. Variation V 1:00 15. (no tempo indication) 1:57 18. Variation VI 1:26

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Six Ländlerische Dances, 14. Variation II 1:00 37. Variation V 1:27 CD 12 WoO15 15. Variation III 0:46 38. Variation VI 1:07 Five Variations on the 16. Dance I 0:30 16. Variation IV 0:44 39. Variation VII 2:17 English folk tune “Rule Brittania” 17. Dance II 0:30 17. Variation V 0:49 in D major, WoO79 18. Dance III 0:30 18. Variation VI 0:42 Total time: 75:52 1. Theme 0:44 19. Dance IV 0:33 19. Variation VII 0:40 2. Variation I 0:43 20. Dance V 0:48 20. Variation VIII 0:48 CD 11 3. Variation II 0:38 21. Dance VI 1:21 21. Variation IX 0:46 Sonata in D minor, 4. Variation III 0:44 22. Variation X 0:46 Op.31 No.2 5. Variation IV 0:46 Total time: 71:42 23. Variation XI 0:45 ‘Tempest’ 6. Variation V 1:38 24. Variation XII 0:48 1. I. Largo – Allegro 9:24 CD 10 25. Variation XIII 0:43 2. II. Adagio 8:51 Minuet in E flat major, Six Variations in F major, Op.34 26. Variation XIV 0:56 3. III. Allegretto 7:38 WoO82 1. Theme 1:37 27. Variation XV 4:59 7. Moderato 4:02 2. Variation I 1:41 28. Finale alla Fuga 5:09 Sonata in E flat major, 3. Variation II 1:13 Op.31 No.3 ‘Hunt’ Prelude in F minor, WoO55 4. Variation III 1:14 Sonata in G major, Op.31 No.1 4. I. Allegro 9:24 8. (no tempo indication) 2:00 5. Variation IV 2:05 29. I. Allegro vivace 7:08 5. II. Scherzo: Allegretto vivace 5:44 6. Variation V 3:17 30. II. Adagio grazioso 11:16 6. III. Menuetto: Andante (favori) in F major, 7. Variation VI 4:56 31. III. Rondo: Allegretto 6:48 Moderato e grazioso 4:18 WoO57 7. IV. Presto con fuoco 5:17 9. Andante grazioso con moto 8:37 15 Variations with a Fugue Seven Variations on the English in E flat major, Op.35 ‘Eroica’ folk tune “God save the King” Sonata in C major, Op.53 Bagatelle in C major, 8. Introduzione col Basso del Tema 0:44 in C major, WoO78 ‘Waldstein’ WoO56 9. A due 0:45 32. Theme 1:12 8. I. Allegro con brio 12:35 10. Allegretto 1:54 10. A tre 0:41 33. Variation I 1:01 9. II. Introduzione: Adagio molto 4:32 11. A quattro 0:41 34. Variation II 0:50 10. III. Rondo: Allegretto moderato 11:34 Sonata in F major, Op.54 12. Theme 0:46 35. Variation III 0:50 11. I. In Tempo d’un Menuetto 6:03 13. Variation I 0:44 36. Variation IV 0:53 Total time: 79:23 12. II. Allegretto 5:59 58 59 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 60

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Sonata in F minor Op.57 36. Variation XIX 0:17 Six Variations in D major, Op.76 Sonata in E minor, Op.90 ‘Appassionata’ 37. Variation XX 0:15 ‘The Ruins of Athens’ 18. I. Mit Lebhaftigkeit und durchaus 13. I. Allegro assai 11:01 38. Variation XXI 0:15 4. Theme 0:38 mit Empfindung und Ausdruck 6:12 14. II. Andante con moto 7:15 39. Variation XXII 0:16 5. Variation I 0:42 19. II. Nicht zu geschwind und 15. III. Allegro ma non troppo 9:19 40. Variation XXIII 0:22 6. Variation II 0:44 sehr singbar vorgetragen 7:11 41. Variation XXIV 0:16 7. Variation III 1:02 Six Ecossaises, WoO83 42. Variation XXV 0:17 8. Variation IV 0:48 Total time: 76:15 16. (no tempo indications) 2:31 43. Variation XXVI 0:16 9. Variation V 0:57 44. Variation XXVII 0:17 10. Variation VI 2:07 CD 14 32 Variations in C minor, WoO80 45. Variation XXVIII 0:20 Sonata in A major, Op.101 17. Theme 0:17 46. Variation XXIX 0:16 Sonata in G major, Op.79 1. I. Etwas lebhaft und mit der 18. Variation I 0:14 47. Variation XXX 0:25 11. I. Presto alla tedesca 5:21 innigsten Empfindung 4:14 19. Variation II 0:14 48. Variation XXXI 0:24 12. II. Andante 2:25 2. II. Lebhaft. Marschmässig 6:38 20. Variation III 0:14 49. Variation XXXII 2:12 13. III. Vivace 2:10 3. III. Langsam und sehnsuchtvoll 3:08 21. Variation IV 0:16 4. IV. Geschwinde, doch nicht zu sehr, 22. Variation V 0:19 Piano Piece in A minor, WoO59 Sonata in E flat major, und mit Entschlossenheit 8:37 23. Variation VI 0:16 ‘Für Elise’ Op.81a ‘Les Adieux’ 24. Variation VII 0:20 50. Poco moto 3:02 14. I. Das Lebewohl (Les Adieux): Sonata in B flat major, Op.106 25. Variation VIII 0:20 Adagio – Allegro 7:28 ‘Hammerklavier’ 26. Variation IX 0:27 Total time: 79:33 15. II. Abwesenheit (L’Absence): 5. I. Allegro 11:42 27. Variation X 0:18 CD 13 Andante espressivo 4:03 6. II. Scherzo: Assai vivace 2:48 28. Variation XI 0:19 Fantasy in G minor, Op.77 16. III. Das Wiedersehen (Le Retour): 7. III. Adagio sostenuto 16:20 29. Variation XII 0:25 1. Allegro - Allegro, ma non troppo - Vivacissimamente 6:23 8. IV. Largo - Allegro risoluto 12:29 30. Variation XIII 0:23 Allegro con brio - Adagio - Presto - 31. Variation XIV 0:22 Adagio - Allegretto 10:32 Polonaise in C major, Op.89 11 Bagatelles (Neue Bagatellen), 32. Variation XV 0:20 17. Alla Polacca, vivace 6:51 Op.119 33. Variation XVI 0:17 Sonata in F sharp major, Op.78 9. I. Allegretto 2:13 34. Variation XVII 0:20 2. I. Adagio cantabile 7:19 10. II. Andante con moto 1:13 35. Variation XVIII 0:20 3. II. Allegro vivace 3:11 11. III. à l’Allemande 1:34 60 61 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 62

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12. IV. Andante cantabile 1:36 Sonata in A flat major, Op.110 CD 16 27. Variation XXVI 1:14 13. V. Risoluto 1:22 5. I. Moderato cantabile 33 Variations on a Waltz by Anton 28. Variation XXVII 1:12 14. VI. Andante – Allegretto 2:01 molto espressivo 7:25 Diabelli Op.120 29. Variation XXVIII 1:05 15. VII. Allegro, ma non troppo 0:56 6. II. Allegro molto 2:17 1. Theme 0:56 30. Variation XXIX 1:20 16. VIII. Moderato cantabile 1:25 7. II. Adagio ma non troppo - 2. Variation I 2:08 31. Variation XXX 1:27 17. IX. Vivace moderato 0:42 Arioso dolente - Fuga: 3. Variation II 0:48 32. Variation XXXI 4:52 18. X. Allegramente 0:14 Allegro ma non troppo – 4. Variation III 1:22 33. Variation XXXII 3:31 19. XI. Andante, ma non troppo 1:40 L’istesso tempo di Arioso – 5. Variation IV 1:09 34. Variation XXXIII 4:15 L’istesso tempo della Fuga poi a poi di 6. Variation V 1:04 Six Bagatelles, Op.126 Total time: 81:03 nuovo vivente – Meno Allegro 7. Variation VI 2:03 35. I. Andante con moto 2:54 (poi a poi più moto) 10 :41 8. Variation VII 1:10 36. II. Allegro 3:03 9. Variation VIII 1:29 37. II. Andante 2:43 CD 15 Sonata in C minor, Op.111 10. Variation IX 2:02 38. IV. Presto 3:59 Klavierstück (Piano Piece) 8. I. Maestoso - Allegro con brio ed 11. Variation X 0:41 39. V. Quasi allegretto 2:10 in B flat major, WoO60 appassionato 9:38 12. Variation XI 1:09 40. VI. Presto – 1. Ziemlich lebhaft 1:14 9. II. Arietta: Adagio molto 13. Variation XII 0:56 Andante amabile e con moto 4:50 semplice e cantabile 18:22 14. Variation XIII 1:03

Sonata in E major, Op.109 15. Variation XIV 3:57 Waltz in E flat major, WoO84 2. I. Vivace, ma non troppo – Klavierstück 16. Variation XV 0:40 41. (no tempo indication) 1:58 Adagio espressivo – Tempo I – (Piano Piece) 17. Variation XVI 1:12 Klavierstück (Piano piece) Adagio espressivo – Tempo I 3:49 in B minor, WoO61 18. Variation XVII 1:09 in G minor, WoO61a 3. II. Prestissimo 2:34 10. Allegretto 2:16 19. Variation XVIII 1:38 42. Allegretto quasi Andante 0:26 4. III. Gesangvoll, 20. Variation XIX 1:02

mit innigster Empfindung 13:04 Total time: 71:27 21. Variation XX 1:56 Waltz in D major, WoO85 22. Variation XXI 1:14 43. (no tempo indication) 0:37 23. Variation XXII 0:54 Ecossaise in E flat major, WoO86 24. Variation XXIII 1:02 44. (no tempo indication) 0:31 25. Variation XXIV 2:28 26. Variation XXV 0:47 Total time: 78:29 62 63 HC19032.Booklet.16CD.Beethoven.qxp_PH?????_Booklet_Gamben/Handel 17.06.19 08:51 Seite 64

Aufnahmezeit/Recording Period: 2008 - 2018 Tonmeister/Producers and Sound Engineers: Holger Busse, Alfredo Lasheras Hakobian, Michael Silberhorn, Christopher Tarnow Edit/Editors: Christopher Tarnow, Claudia Neumann, Christian Jaeger, Lisa Harnest, Dominik Streicher, Stefan Antonin Aufnahmeort/Recording Venue: Gewandhaus zu Leipzig, Mendelssohn-Saal Flügel/Piano: Steinway Stimmung/Piano Tuner: Stephan Wittig Einführungstext/Programme Notes: © Martino Tirimo 2019 Artistic production manager: Despina Kapsokefalou (I.M.A., Athens) Photos: Francesco Tirimo Graphik Arts/Design: Birgit Fauseweh Front Cover: Painting of Beethoven by Carlo Wostry

Ꭿ 2019 by Profil Medien GmbH/hänssler CLASSIC 16 CD HC19032