BEETHOVEN THE COMPLETE EARLY VARIATIONS

Alessandro Commellato fortepiano Ludwig van Beethoven 1770-1827

1. 32 Variations in C minor 8. 10 Variation in B flat WoO73 14. 8 Variations in C WoO67 WoO80 on an original theme 11’43 on Salieri’s air ‘La stessa on a theme by Count Waldstein 2. 5 Variations in D WoO79 la stessissima’ 12’28 for piano four hands 8’58 on ‘Rule Britannia’ 5’36 9. 8 Variations in C WoO72 on 15. 13 Variations in A WoO66 3. 7 Variations in D WoO78 Grétry’s air ‘Un fievre brûlante’ 7’12 on Dittersdorf’s air ‘Es war on ‘God save the King’ 8’43 10. 12 Variations in A WoO71 on a einmal ein alter Mann’ 14’55 4. 6 Easy Variations in G WoO77 Russian Dance from Wranitsky’s 16. 24 Variations in D WoO65 on an original theme 7’27 ballet ‘Das Waldmädchen’ 12’20 on Righini’s air ‘Venni amore’ 23’29 5. 8 Variations in F WoO76 11. 6 Variations in G WoO70 17. 6 Easy Variations in F WoO64 from Süssmayr’s theme on Paisiello's air on a Swiss air 2’57 ‘Tändeln und Scherzen’ 9’21 ‘Nel cor più non mi sento’ 5’45 18. 9 Variations in C minor WoO63 6. 7 Variations in F WoO75 12. 9 Variations in A WoO69 on on a march by Dressler 12’41 from Winter’s opera ‘Das Paisiello’s air ‘Quant’è più bello’ 6’07 unterbrochene Opferfest’ 11’54 13. 12 Variations in C WoO68 Alessandro Commellato fortepiano 7. 6 Variations in D WoO74 on the ‘Menuet à la Viganò’ Elena Costa fortepiano (1) on ‘Ich denke dein’ from Haibel’s ballet ‘Le nozze Fortepianos: J. Böhm 1823 (1, 3) for piano four hands 5’05 disturbate’ 14’41 J.A. Stein 1788 (2) A.Walter 1792 (4) Sonja Angelina Krenn soprano (7) Alessandro Commellato fortepiano A.Walter 1789 (5) Alessandro Commellato fortepiano Fortepianos: Walter & Sohn 1805 (1, 4, 6) Elena Costa fortepiano (7) A.Walter 1792 (2) Fortepianos: J. Böhm 1823 (1, 7) J. Böhm 1823 (3) The Walter and Stein fortepianos used in this A.Walter 1789 (2, 3) J.A. Stein 1788 (5) recording are copies made by Guido Bizzi A.Walter 1792 (4) Walter & Sohn 1805 (5, 6)

Recording: 8–10 July 2016 & 20–22 March 2017, Villa Bossi (Varese), Italy Recording engineers: Claudio Vandelli & Ermanno Bemporad Artistic supervision: Claudio Vandelli Piano technician: Alessandro Levanti Cover: Samson and the lion, by Gian Lorenzo Bernini (1598-1680) ℗ 2017 & © 2018 Brilliant Classics Early pianos Beethoven - Early Variations These early sets of variations are full of fresh and exciting creativity, an indication of Under the title of “early variations”, we find here all those works for solo and four the young Beethoven’s awesome talent for improvisation which was so commented on hands piano without opus number, that form part of one of the most distinctive in the writings of his contemporaries. musical genres of the 18th Century: the theme with variations. The primitive mechanism of the Viennese fortepianos dating from the late 18th For one reason or another, these works were not included in the main catalogue century was forced by Beethoven toward new parameters of virtuosity, of orchestral- of Beethoven’s compositions. In actual fact, some of the variations without an opus resembling puissance, while also demanding the instrument to render the most number are not “early” at all. expressive cantabile. In particular, the famous 32 Variations on an Original Theme WoO80 were He was searching for an instrument that still didn’t exist… composed in the Autumn of 1806 and immediately published in Vienna. The instruments I have chosen in this recording include the delicate Stein, still The two series of “political” variations, the 7 on God save the King WoO78, and resembling the clavichord delicacy, which inspired me to adopt a somehow baroque the 5 on Rule Britannia WoO79, written between March and June 1804, in the wake and “inegale” phrasing; the Walter which, in 3 different exemplars, points toward of Beethoven’s admiration for the British Resistance to the proclamation of the French the future piano, offering more power and brilliance and, finally, the mature Viennese Empire, can also not be considered as early works. Further series of variations may sound of the Joseph Böhm, suggesting atmospheres of the early romantic period. be considered juvenile perhaps, but not early: the 12 variations in C major on the The challenge for the interpreter, in this corpus of themes and variations, is to “Menuett à la Vigano” WoO68 destined, according to an editor as scrupulous as catch the extemporaneous and sometimes crazy character of this genre, originating Artaria, for “Harpsichord ou Piano-Forte”. from young Beethoven’s aims of surpassing the other virtuoso pianists in Vienna, and This group of variations are of an early style and represent a sort of halfway house seducing the public of the salons. between the type of music written for the harpsichord, typical instrument of the noble (Quite differently, the piano sonatas and similarly the string quartets were salon, and the piano, soon to be such a common feature in the bourgeois drawing conceived for the almost solitary spiritual nourishment of the cultivated amateurs). room, and they represent the core of this corpus. All kinds of affetti are here explored, alternating humor, fury, seriousness, In it there are two series of variations on la Molinara by Paisiello, WoO69 and gassenhauer triviality, sweet and sincere tenderness. WoO70; those on the Russian Dance from Wranitzky ballet Das Waldmädchen, Later on, Beethoven would pick many ideas and solutions from this hidden treasure WoO71; on Grétry’s Richard the Lionheart, WoO72; on Salieri’s Falstaff, WoO73; and insert them in the much nobler corpus of the sonatas. from Peter Winter’s Das Unterbrochene Opferfest, WoO75 and on Suliman II by Is this the reason why these variations remained out of the main catalogue? Süßmayr, WoO76. This list closes with a clearly didactic work: the 6 variations ”tres Whatever the reason, this collection seems to be the most sincere and detailed self- faciles” on an original theme in G Major, WoO77. portrait we can enjoy of Ludwig, in his early “roaring” young years. The theatrical origin of these variations sheds some light on Beethoven’s life and the © Alessandro Commellato social milieu in which he lived. From this viewpoint the dedications are significant. The dedicatee of the 9 variations for pianoforte in A Major on the tune “Quanto è più bello l’amore contadino” WoO69 and of the 6 variations in G major on the duet “Nel The editorial baptism of the young Beethoven, cor più non mi sento” WoO70, from Paisiello opera “La Molinara”, is Prince Carl von who was thirteen in reality, is very significant in Lichnowsky, the first patron and friend of Beethoven in Vienna and former pupil and any case since it is a work in the key of C minor, patron of Mozart. The Prince and his wife Christine, daughter of the Bohemian count perhaps the most representative of the serious and Thun, welcomed Beethoven into their house like a son, fussing so much about his belligerent character of its author. career that he decided to search for an independent apartment in Vienna. The style showcased from the middle of the Franz Gerhard Wegeler, rector of the University of Bonn, fled to Vienna in 1794 1790’s, is rooted in the playing style of the young after the French occupation of the Rhineland and in his memoirs about Beethoven, and impetuous composer. It used to be thought reveals the reputation as a difficult and innovative composer which already that the 24 variations in D major WoO65 on surrounded Beethoven in Vienna: “The Prince was passionate about music and a the Arietta “Venni amore” by Vincenzo Righini, bit of a connoisseur. He played the piano, studied Beethoven’s pieces and played had been re-written in a new version in 1801, them more or less well. He tried to convince Beethoven that there was no need to because they no longer seemed difficult enough to change anything in his style, despite the fact that others often criticised him about the Beethoven now he was in Vienna. A. Walter, ca.1789 difficulty of some of his works”. Beethoven’s piano style was changing in this period In reality, the re-discovery in the 1980’s (copy by Guido Bizzi) and he was well aware of this fact: “In all honesty dear Streicher – he wrote in 1796 of a copy of the original, dating from 1791, to the piano builder Johann Andreas Streicher – one thing is sure, the way of playing demonstrated that both versions were identical. the pianoforte is still very primitive when compared with all the other instruments. It was no mere coincidence that the old abbot Johann Franz Xaver Sterkel, a At times one has the impression of hearing a harp being played and I am really happy delicate pianist of other times, declared the work unplayable. The author, cut to the that You are one of the few who understand and hear that also the pianoforte can be quick, immediately performed it right in front of him, improvising other even more made to sing - all you have to do is listen to it. I hope that the time will come when difficult variations, to show off his virtuosity. the harp and the pianoforte will be two completely different instruments”. Beethoven did not have an easy character and in the feverish period following his Things were different just a few years earlier, when at Bonn, before he moved departure from Bonn and his transfer to Vienna, his moods fluctuated even more than to Vienna, Beethoven wrote 6 Variations faciles in F major WoO64, inspired by a was usual. Swiss tune published in a German musical magazine in 1782. The flyleaf of the first A letter dating from the summer of 1792 to Eleonore von Breuning, reveals edition, printed at Vienna in 1798, clearly states “ pour la Harpe ou le fortepiano”, to us how Beethoven himself was so ashamed of his excesses, that he offered as a juxtaposition which, as we have seen, Beethoven cordially detested. The pianoforte compensation for his loutish manners a series of variations on the Arietta “Es war demonstrates an analogous primitivism of style also in the nine variations WoO63 on einmal ein alter Mann” WoO66, from Dittersdorf’s Singspiel “Das rote Käppchen”. a march from a forgotten mid-18th Century maestro, Ernst Christoph Dreßler, the A series of variations in C major for piano 4 hands had been published without first piece of music published by a young Beethoven, “agè de dix ans”. Beethoven’s knowledge. These were the WoO67, written for count Ferdinand Ernst von Waldstein, the famous author of the wish that Beethoven might receive the however Josephine married Count Deym, much older than her, but undoubtedly a spirit of Mozart from the hands of Haydn. Beethoven was annoyed by the fact that much better marriage prospect than Beethoven. When Deym died in 1804, Beethoven occasional works like this were available in circulation before more important works once more picked up the old variations and completed them with 2 more, as if to of greater artistic worth. underline a continuation of affection. The concept of “early variations” should thus be considered from a different Beethoven’s love affairs are generally hidden in a fog of the utmost discretion, but perspective; they belong to a bygone age, relics of a century at its close and of an they do leave some faint traces in his music. instrumental technique undergoing profound transformation. In the Autumn of 1798, for example, the editor Traeg in Vienna published 8 Obviously this does not mean that the theme with variation had reached the end Variations in C major WoO72 that, strangely enough, have no dedicatee. The theme is of its cycle; on the contrary Beethoven’s output offers many examples of how this the Romance “Une fièvre brûlante” from Grétry’s opera, Richard Coeur de Lion, one process of composition was still vital and capable of opening new paths of musical of the most important titles of French Musical Theatre in the 18th Century. thought. Remaining in the realm of piano music, how could one otherwise explain the Richard the Lionheart, imprisoned in the castle, hears his love romance sung fact that Beethoven entrusted his final leave taking from the world of the sonata, with outside the walls by the loyal Blondel, and thus he realises that he is not alone and the metaphysical variations on the Arietta from opus 111, as well as the definitive that Marguerite is searching for him. It’s probable that also in Beethoven’s case, the synthesis of his writing for piano with the monumental Diabelli variations? person for whom the message was intended, would have understood it, also because However, the monstrous aberration of the Diabelli variations confirms in a of the sentimental nature of the writing. paradoxical manner the hierarchy of values. A lady who was certainly admired by Beethoven for her piano playing skills was Variations as a genre, belong to a sphere less reined in by the ethical responsibilities Countess Anna Margarete von Browne. Indeed, to her are dedicated the three sonatas of creative activity. The rare examples of piano variations published by Beethoven with of Opus 10, among the most technically demanding of Beethoven’s early works, two an opus number are linked to people who are members of his intimate circle of friends, series of Variations, 12 in A major on the Russian dance from Wranitzky’s ballet Das such as the Contessina Babette von Keglevich to whom are dedicated not only the Waldmädchen, published in 1797, and 6 (8 in some editions) in F major WoO76, Variations opus 34, but also the 10 variations in A flat major WoO73, on the theme of based on the trio “Tändeln und Scherzen” from Suliman the Second, an opera fruit the aria “La stessa, la stessissima” from Salieri’s Falstaff, written in February 1799. of the modest ability of Franz Xaver Süßmayr, a student of Mozart. The first pay Still following the trail of relationships with the fair sex, we encounter on homage to the Russian origins of his new patrons and demonstrate a style of writing Beethoven’s path further series of variations such as those for piano 4 hands WoO74, for the piano still influenced by harpsichord fingering techniques, while the latter set written for countess Brunswik’s daughters, Therese and Josephine, between 1799 opens up to passages of poetry and deep sentiment in the humoristic scenario woven and 1804. The younger one Josephine, according to some scholars may have been by Beethoven, with a long adagio variation before the final one. the mysterious Amata Immortale . Music obviously plays its part in these amorous The 32 variations C minor WoO80 “pour le Pianoforte”, as specified in the original skirmishes and in fact Beethoven wrote 4 variations in D Major for piano four hands Comptoir edition, published in 1806 in Vienna, in the iron grip of Napoleon’s Grande on Goethe’s “Ich denke dein” in the Brunsvik sisters’ album. In that same year, Armée, need to be considered separately. It distinguishes itself from the other Piano variations, from various points of view. Alessandro Commellato. A pupil of Carlo Vidusso, First of all, unlike the other series, the 32 Variations in C minor derive from the Pier Narciso Masi, Sergio Fiorentino and Evgeny antique form of variations on a ground bass, which in the baroque period was known Malinin, Alessandro Commellato studied at the as passacaglia or chaconne. Conservatory in Milan and won piano competitions: In this case the ground bass is replaced by a harmonic structure which, starting Schubert in Dortmund, Ciudad de Oporto, Rendano from the chord in C minor, culminates with an expressive leap on the triad in F major, in Roma, Stresa. before descending again to the initial chord. He has performed as soloist with Teatro alla Scala of The variations are grouped into bands which the characteristics of the writing Milan, Teatro la Fenice of Venice, Petersburg Academy, explore, in a more manageable fashion, the myriad possibilities of the pianistic style. Prague Philharmonic, Odessa Symphonic, Moldavian The melody line of the theme centred around the ascending chromatic, which leaps National Orchestra, Krasnodar Premiere, Omsk from C to A flat, is the other ostinato element of the form, which unites in an original Philharmonic, Bratislava Solamente Naturali, Zagreb manner the antique principle of the passacaglia with the late 18th century theme with Radio Orchestra, Orchestra Verdi, Orchestra Toscanini. variations. He has premiered contemporary works in Salzburg Beethoven was the first modern musician to be attracted to this austere and Mozarteum, Madrid Auditorio Nacional, Melbourne, expressive baroque form which has influenced a long series of composers from New York Americas Society, Milano Musica nel nostro Brahms, Webern, Berg, Britten, Shostakovich, Stravinsky down to the contemporary tempo, Como Autunno Musicale, Biennale di Venezia. Commellato performed in the world premiere of Cherì (Roland Petit) at the Teatro Thomas Adès. alla Scala, in Autour de Chopin at National Theatre in Warsaw, in Adriano Guarnieri Perhaps it was precisely the audacity of this leap back in time, yet in reality Medea at Teatro La Fenice in Venice. courageous form of experimentation on new paths for piano writing, that made He is regularly invited in Festivals of Lausanne, Lugano, Verbier, Innsbruck, Beethoven reluctant to include the variations in C minor in his catalogue of major works. Lockenhaus, Bremen, Bordeaux (Bacchus), Bratislava, Aix en Provence, Helsinki © Oreste Bossini Baroque orchestra, Mulhouse, Milano Villa Reale, Florence Accademia Bartolomeo English translation: Richard Reville Cristofori, Urbino Festival, Palermo Amici della musica, Barga. As a chamber player he performs with Atalanta Fugiens, Le Musiche Berlin, Solamente Naturali, Divertimento Ensemble. He was assistant in Cremona with Bruno Giuranna and Salvatore Accardo. He recorded Gioacchino Rossini Péchés de vieillesse for Amadeus, J.N. Hummel Piano Concertos (94338), Piano Septets (94041) and Ferdinand Ries Cello Sonatas (95206) for Brilliant Classics. Commellato is piano professor at Guido Cantelli Conservatory in Novara.