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Beethoven's World

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Beethoven's World Beethoven’s World EBERL • DUSSEK CONCERTOS FOR TWO PIANOS Duo Tal & Groethuysen Frankfurt Radio Symphony Reinhard Goebel Ludwig van Beethoven (1770-1827) Gratulations-Menuett for Orchestra in E-flat Major, WoO 3 (1822) Gratulations-Menuett für Orchester Es-Dur WoO 3 1. Tempo di Menuetto quasi Allegretto 4:00 Anton Eberl (1765-1807) Concerto for Two Pianos and Orchestra in B-flat Major, op. 45 (1803) Konzert für zwei Klaviere und Orchester B-Dur op. 45 2. I. Allegro 15:18 3. II. Marche: Trio: Marche 4:07 4. III. Intermezzo: Andante – Rondo: Vivace assai 8:35 Jan Ladislav Dussek (1760-1812) Concerto for Two Pianos and Orchestra in B-flat Major, Recording dates: 6–7th of December 2018 op. 63 (1806) Recording location: Hessischer Rundfunk, hr-Sendesaal, Frankfurt am Main, Germany Konzert für zwei Klaviere und Orchester B-Dur op. 63 Recording producer: Philipp Knop 5. I. Allegro moderato 15:27 Executive producers: Michael Traub (hr), Michael Brüggemann (Sony Classical) & 6. II. Larghetto sostenuto 8:47 Anna Iskina (anna iskina arts management) 7. III. Allegro moderato 7:49 Recording engineer: Lisa Harnest Recording assistant: Frank Wagner Cover photo: Savushkin (iStock / Getty Images) Joseph von Eybler (1765-1846) Photos: hr / Ben Knabe (Frankfurt Radio Symphony), Gustav Eckart (Duo Tal & Groethuysen), Wolf Silveri (Reinhard Goebel) 8. “La Follia di Spagna” with all Instruments 11:22 Artwork: Demus Design after the Violin Sonata, op. 5 no. 12 “La Follia” English translations: texthouse by Arcangelo Corelli (1802) Co-production with Hessischer Rundfunk „La Follia di Spagna“ mit allen Instrumenten nach ℗ & © 2020 Sony Music Entertainment Germany GmbH der Violinsonate op. 5 Nr. 12 „La Follia“ von Arcangelo Corelli www.duotg.com world premiere recording / Weltersteinspielung www.reinhardgoebel.net www.hr-sinfonieorchester.de www.annaiskina.com Total Time: 75:54 www.sonyclassical.de Duo Tal & Groethuysen Yaara Tal, piano / Klavier Andreas Groethuysen, piano / Klavier Frankfurt Radio Symphony Reinhard Goebel, conductor / Dirigent Duo Tal & Groethuysen Beethoven – Eberl – Dussek – Eybler and this remains the case even in a city where Beethoven, Eberl and Hum- mel are living, all of whom have undoubtedly achieved a very high level Double concertos for two or more identical instruments were turned out of artistry.” In spite of this, Katharina Hohenadl is not to be found among in their hundreds by Baroque composers, but by the galant period they the many female dedicatees of Beethoven’s works, the philanthropic com- were already extremely rare and by the Classical era they had vanished poser preferring to accord such an honour to female members of the aris- almost completely. The raison d’être for such works was always a family tocracy. connection or the composer’s friendship with instrumentalists who were close to him or her. Mozart, for example, wrote his Double Concerto in Throughout Eberl’s life Beethoven remained silent on the subject of his E-flat major for two pianos K 365 for his sister and himself, before going rival even though they mixed in the same social circles. Already opinion- on to perform the piece in 1781 and again in 1782 with his pupil Josepha ated and partisan, Vienna’s “critics” pitted the two composers against Barbara Auernhammer: “Fräulein Auerhammer [sic] has been tormenting one another in a culture war avant la lettre. Official Vienna initially did me terribly about the double concerto.” what it could to impair the progress of an immigrant like Beethoven, while in Prague, original imports such as Eberl were regarded as an imposition, It is no wonder that in the years around 1800, Viennese pianists no longer and by praising Beethoven to the skies, the good people of Prague also played this late galant work from Mozart’s years in Salzburg, a neglect took revenge in passing for the fact that Bohemian artists were invariably motivated in part by their lack of interest in earlier music and in part by left to play second fiddle in Vienna. their contemporary taste, which was directed in the main at the modern period. The curtain went up on the here and now, freeing up the stage for But a Prague reviewer went too far when he dismissed Eberl’s Piano Con- the living. certo in C major as having “little or no originality – at every point Beetho- ven’s magisterial concerto in C shines through, a work that seems to have Any work written for two similar instruments presupposes a willingness served Herr E. as his template both in its overall design and in its individual on the part of two artists to meet as equals. However, who could have passagework”. In advancing this view the writer was “contradicting the been less ready for such a friendly duel than the prickly Beethoven? Did he unanimous testimony of the whole of Germany”. A Viennese connoisseur really ever write anything for two pianos, still less for piano four hands? If countered this imputation, noting “Eberl had already written this concerto so, such works have been forgotten. And even if they haven’t, these works at an earlier date and performed it to great acclaim in St Petersburg at have certainly not found a place of honor in the collective consciousness. the beginning of 1798, in other words, several years before any of Beetho- Beethoven’s antithesis was Anton Eberl, who was born in 1765 and who ven’s concertos were known at all.” died at far too early an age on 11 March 1807. He was arguably Beetho- ven’s most powerful rival both as a composer and as a keyboard virtuoso. The fact remains that Eberl fulfilled his contemporaries’ basic need to move He first played the Double Concerto that is featured here on 25 January away from the decorative tinklings of the ancien régime and embrace a 1805 and later on his major concert tour in the autumn of 1806, when he type of music that was an expression of the new age. Moreover, he ful- performed it with local, strategically important artists in Leipzig, Frankfurt filled this need in just as optimal a way as Beethoven – only Eberl chose and Berlin. On his return to Vienna in December 1806, he gave a further an alternative route. performance with Franziska von Hohenadl (1785–1861), the dedicatee of the 1809 posthumous printed edition. At least in Leipzig Eberl’s two “great” symphonies remained in the rep- ertory until the mid-1830s and only after that date did they disappear The critic of the Allgemeine musikalische Zeitung reviewed this last-named from concert hall programmes. It may be objected that his marches – “a performance: “Fräulein H. is perhaps the most powerful pianist in Vienna beautiful march is inserted in place of an Andante” – introduce a touch and as always she revealed a quite extraordinary purity, precision and too much contemporary flavour into the work, but are we now to tell our delicacy in this delightful, beautifully conceived and admirably instru- ancestors retrospectively in what they should respond to music and what mented concerto. She was rewarded with universal applause of the most they should listen to and enjoy? emphatic kind.” A comment that was made about Beethoven in 1808 could just as well Elsewhere we read that “Fräulein Hohenadl will find few rivals in Vienna in apply to his rival Ebert today: “As we know, it is rarely possible to reach an terms of her speed, her lightness of touch, her power and her subtlety – unequivocal decision on Beethoven’s compositions at an initial hearing.” If Eberl and Beethoven occasionally met in person in Vienna, then any singer and played the piano. Every week she would organize concerts for meeting with their Bohemian rival Jan Ladislav Dussek took place only on her husband, who tended to suffer from melancholy. The programmes paper. In September 1807 the Allgemeine musikalische Zeitung reported for the period between 1801 and 1803 have survived almost complete, as that “a new grand concerto for pianoforte, violin and violoncello by have the scores that were used on these occasions. Beethoven and a similar piece for two pianofortes by Dussek have just appeared in engraved editions, the former in Vienna, the latter in Leipzig. It remains unclear what prompted the empress to invite Joseph Leopold Both are among the most admirable works that we owe to these two com- Eybler – deputy Hofkapellmeister under Antonio Salieri – to prepare an posers.” Bets are still being taken on which of these two composers will orchestral arrangement of Arcangelo Corelli’s Violin Sonata op. 5 no. 12 of have been more incensed by this comparison. 1700. The result was La follia di Spagna mit allen Instrumenten. Dussek had no interest at all in Vienna – to think that the place existed at Unlike the aristocracy, the court at the Hofburg attended performances all! After studying in Prague between 1776 and 1778, he was drawn to other of works that may not have counted as “early music” but which were defi- European cities: The Hague, Berlin, London, Paris and St Petersburg. It was nitely written by composers who were no longer alive, a development here that, possibly building on his brief period of study with Carl Philipp that may have been inspired by Baron Gottfried van Swieten, who was Emanuel Bach in Hamburg in 1782, he developed a grandiose Romantic currently living in rooms in the Hofburg Library. The works performed on piano style that passed Viennese Classicism completely by. these occasions included not only a number of deeply silly commissions for which many of the empress’s directives to their respective composers “In my own view Dussek’s strength as a composer rests on his peculiar have survived but also standard works such as Pergolesi’s Stabat mater, individuality, on his novelty and on the striking and brilliant quality of his Haydn’s Seven Last Words of Christ on the Cross, Passions by Jommelli fertile imagination, and as for the way in which his ideas are elaborated, and Paer and symphonies by Paul von Wranitzky, these last named being that strength rests on the fire and inwardness that are rarely missing works that invariably bubble with infectious high spirits.
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