Luogo e data di registrazione		?? - 1976?
	Original Editions		Telefunken | 6.35289 FK | 6 LPs | LC 0366 | durata: 59' 27" · 43' 21" · 52' 04" · 57' 39" · 64' 26" · 55' 55" | (p) 1976 | ANA | stereo
	Edizione CD		Teldec | 3984-21797-2 | 5 CDs | LC 6019 | durata 67' 51" · 67' 35" · 71' 54" · 64' 40" · 62' 31" | (c) 1998 | ADD | stereo
	Executive Producer		?
	Recording Producer and Tonmeister		?
	Recording Engineer		?
	Cover		Ludwig van Beethoven, Gemälde von J. W. Mähler, 1815
	Art Direction		?
	Note		-

BUCHBINDER & BEETHOVEN 6 LPs - 6.35289 FK - (p) 1976 6 LPs - 6.35368 FK - (p) 1977 3 LPs - 6.35450 EX - (p) 1978

Beethoven’s piano pieces, overshadowed by the sonates and variations We are accustomed to judging great artistic personalities on the basis of their extraordinary creative productions. Differences were admittedly made in Beethoven’s creative output between an early phase where there had been no disputation with tradition, a middle period in which his unmistakable tone idiom was fully developed, and finally a late phase when his works often have an aura of the transcendental and ascetic, to do justice to every degree of development. Nobody will deny that also musicians of extraordinary artistic rank have developed in the course of their creative work, but in most cases these “preliminary stages” have never received the attention they deserve. The situation is no different with what are known as the “minor masters”, whose limited radiation in history completely faded but perhaps whose posthumous fame, meanwhile revived, brought about a genuine appraisal of singular works. It takes the comprehensive aspect which history gives us to make this “gap” quite clear. The discovery and cultivation of seemingly less important sectors enables prejudices to be rectified, such as unjustified over and under-evaluations. Anybody who is interested in Beethoven’s bequest of creative piano works and accepts only the sonatas, or “at best” the great variations as well, has put on blinkers and is incapable of a comprehensive appreciation of his piano music. Perhaps a commemorative day such as the 150th anniversary of Beethoven’s death (in 1977) can provide an impulse to take more than ever possession of the entire works and thus complete the picture which we have so far had of him. Indeed, given the wear and tear to which Beethoven’s works are also subjected in our musical life, especially due to the constant availability of his music by way of radio and gramophone records, we would welcome it if another reserve were opened which, while it has always existed, only moved into its proper place as the result of encyclopaedic ambitions. A not inconsiderable part of Beethoven’s piano music, which belongs neither to the valid sector of the sonatas nor to that of the variation, originates from his Bonn period which as yet lacked the explosive power of his music, his rebellion against convention, in which measure and control are hardly hinted at, let alone effected. Among the “minor works“ however, we also find the Bagatelles op. 126 and op. 119 - works which can only be properly evaluated from the aspect of the overall creative process, that is to say also with a view to his late mode of writing. The present publication offers a welcome possibility of becoming acquainted also with lesser known specific pieces from Beethoven’s creative production. The three Kurfürsten-Sonatas (WoO 47 Nos. 1-3), are testimonies to a thorough training under Christian Gottlob Neefe. Contrary to the servile dedication address to Archbishop Maximilian Friedrich, Prince Elector of Cologne (which certainly was not worded by Beethoven), he did not compose this work at the age of eleven years, but around 1782/83. They illustrate Beethoven’s intimacy with the musical mode of writing of his time, with trusted and tried tone models, but also with instrument-conditioned performance technical achievements. Also in the exposition of two themes one will search in vain for marked dualism; rhythmically distinguished melodic basic types are more inclined, as thematic material, to experience shading and expansion. The main subject of the first sonata owes more to the Cantabile than to the usual Allegro. For all this, there is no rapturising in the melody, and instead moves towards contrasts and counterparts are already becoming evident. Rich figuring starts to appear at this stage. Manifest period construction determines the design of the no less cantabile Andante movement. Beethoven introduces a musically joyful component into the Rondo. Changes in metric construction occur, but also abrupt key changes, so that by no means only sound language expectations are fulfilled. The second sonata, also in ternary form, is introduced by a strident Larghetto maestoso in which we find hints at the design principle which subsequently was typical of Beethoven: the connection of contrasting motifs with a theme (arpeggio chord with following dotted accent and practically non-metric quaver steps). But also in the continuation of this theme the tone structures undergo extension and contrast. This Larghetto introduction is taken up again in altered form after the Allegro main section as a modulating intermezzo, to be followed by an (amended) repetition of the first Allegro part. This movement is, it is true, made up of twice two parts, but even as a twelve-year-old Beethoven already avoided rigid form fulfilment in favour of a variable principle of design. In the Andante which follows, which is introduced by a cantabile theme, the pathos of the beginning movement sees a more binding continuation, while repeatedly typical piano runs establish the connection with the actual theme. The concluding Presto is based upon a mobile theme (in unison tone), which also bears a relationship to the similar style second theme. As yet no organisational conflicts are carried on in this binary movement. The third of the Kurfürsten sonatas (D major) in its structure deviates considerably from the traditional sonata model. In its abundance of figures the first movement (Allegro) is oriented towards traditional models. In the second place Beethoven sets a formally and melodically conventional minuet with six variations which enable the theme to appear in varying lights. The fifth variation differs from the norm on account of the use of A minor and the syncopated motif work. A song-like Scherzando has a markedly “last dance” character because of its joyfully playful elements. The rondo-style theme is repeatedly permeated by typical piano passages but without any resultant dimming. - The two Sonatinas (Appendix 5) are still classified among Beethoven’s “doubtful” compositions (inadequate evidence of authenticity), since so far there is no documentary proof of their genuineness. Beethoven’s biographer Thayer, and also the music theorist Hugo Riemann, however, have no doubt about the authenticity of both sonatinas which, like the Kurfürst sonatas, would be accredited to Beehoven’s Bonn period. Both sonatinas are in binary form and thus are not yet of “typical form”. The first movement of the G major sonatina is a formally structured movement in which a thematically related middle part is framed by two identical main parts and concluded by a coda. However, the fact that there is more here than form fulfilment, is proved by the mode of modification of the main motif, whose freedom of movement already proclaims future thematic work. In its strict metre the second movement indicates more a dance-like movement than a rapturous romanza, despite its heading as the latter. The second of the two sonatinas is more demanding. In it we discover, going beyond triad figures and runs, also trills and dramatic turns which enrich the tonal happenings. The first movement is drafted in accordance with the sonata principle: two themes directly confront each other. The development takes up almost half of the space. The reprise (contrary to the rule) links up with the second theme, which the coda joins with a reversion to the development. A Rondo follows in which the theme appears three times in full form. As the middle section a cantabile minor episode provides a contrast to the renewed rondo section which is introduced by an “ad libitum” cadenza. - Sonata in C major (WoO 51), presumably composed 1791/92 and dedicated to Eleonore von Breuning, is incomplete, consisting of only two movements (an Allegro and an Adagio), and Beethoven did not finish the slow movement either. His pupil Ferdinand Ries completed the missing eleven bars. Since the work was envisaged for a “dilettante”, we can assume that Beethoven made up for the usual technical demands by musical content. Compared with the remarkable density of expression of the first movement, the cantabile Adagio seems to be modest, even though Beethoven constantly provided contrasting media here as a design principle. - Beethoven also had a definite person in mind for his Two movements of a Sonatina (WoO 50), namely his friend Franz Gerhard Wegeler. The work in question is a modest little movement in miniature form and without claim to form fulfilment or even any particular ambitions as to structure. Nevertheless in the first movement two different musical concepts contrast with each other. The second movement is based upon a construction plan clearly revealing Beethoven’s feeling for symmetry, interlinking and “overlapping” of the individual parts. The Bagatelles. The seven early pieces (op. 33) which possibly were still composed under the guidance of Beethoven’s teacher Neefe, admittedly provoke a comparison with the two later Bagatelle Collections (op. 126 and 119). By virtue of tonal miniatures, characteristics of Beethoven’s early and late style become clearly evident. A conspicuous aspect of the early bagatelles is the waiving of cyclic fulfilment, and a rounding off of the form and content. Neither are there any conspicious innovations from the tonal idiom point of view - at most, that also as regards the emphatically lyrical pieces there is a suggestion of constructive contrasts, perhaps even of musical originality. Between composition of op. 33 and op. 126 there lay a period of over twenty years. Beethoven composed the six Bagatelles op. 126 around 1823/24 after concluding the preliminary work on the final movement of his ninth symphony. Beethoven’s tone language is naturally a completely different one here, and also the cyclic concept is more strongly realised than there: the path from setting out, via drama and contemplation, and reaching the crowning conclusion. This also finds expression in the order of the pieces according to keys as well as motif connections. Compared with this late work - incidentally Beethoven’s last piano work altogether - the middle bagatelle cycle (op. 119) from the years 1820/22 has more an atmosphere of the coincidental and less the concept of the combined form. Perhaps this is also due to the fact that here eleven as opposed to six (in op. 126) pieces were not necessarily bundled in compulsory form. The description of bagatelle for cameo art or as an aphorism applies in a particular manner here, perhaps even more so than in the two other bagatelle cycles. The coincidence of the order results initially from the fact that in the case of Bagatelles Nos. 2-5 Beethoven resorted to earlier drafts. Of this collection, special reference is made to the Trill Study (No. 7), the string quartet-style Allegro movement (No. 8), the twelve-bar Allegramente, and the concluding Andante ma non troppo. Max Reger chose the last-mentioned as the theme for his Beethoven Variations for two pianos and orchestra. - The two Bagatelles in C minor and C major (WoO 52 and 56), which are connected with the composition of larger works, have to be added. These are the Bagatelle in C minor dated 1797, whose draft is linked with composition of the second movement of the Sonata in C minor op. 10, No. 1, for which the economically arranged piece was originally intended as an Intermezzo but could not be considered as a sonata movement due to its small dimensions; finally a Bagatelle in C major, whose drafts are on three pages of Beethoven’s Berliener (Eroica) sketch book dated 1804. This is a piece concentrating on part-leading, the Trio part of which, thematically derived from the opening motif, reveals Beethoven as the master of contrapuntal movement art. - The Four Rondos can also be classified as from Beethoven’s early creative period. He composed the Two Rondos in C major and A major (WoO 48 and 49) when thirteen years of age. Rondo in C major still contains some compositional discrepancies (doubling of leading notes or even “alienation” of the original theme character); in the A major rondo on the other hand we find freely developing thematic art (indications of the final movement of Sonata op. 31, No. 2!). A later date can be placed upon the two rondos composed independently of each other which were subsequently published as op. 51. It is true that the first is based upon the conventional construction plan (quadruple repetition of the theme, between them transitions and developments). However, in the second part, after the theme appears in the minor variation, it is altered to the extent that the theme again appears twice - although in modified form - and the Rondo is concluded with a coda. The more popular G major rondo admittedly also remains within the bounds of formal equilibrium but counters formalism in as much as here too the sequence of rondo theme and transitions are shifted. - “Rage over a lost penny, worked off in a caprice” (Rondo a capriccio op. 129). “It is difficult to imagine anything funnier than this joke” R. Schumann had written about this Rondo, which originates from Beethoven’s effects and therefore was given the high opus number. Its composition, however - as indicated by sketches which have been passed on and an analysis of the autograph - can be located in time with the first symphony or the first piano concerto. For a long time this programmatic piece, whose title, entered by an alien hand, admittedly is easy to retain, was regarded as a late work. Subsequent researches, however, have shown that this rondo was probably composed between 1795 and 1798. The fact that the experts were for a long time in error with establishing the date shows that Beethoven constantly wrote pieces of refreshing originality which are typical for neither the early nor late style. The singularity of the theme with its humorous traits also seems to accord with the just individual modification of the form pattern. Eight times the 24-bar mobile theme returns, which by no means in “text book fashion” is interrupted by interim movements, but undergoes eternal comment “until exhaustion”. A coda which is formed from the main theme ends the effective piece. A Rondo in B-flat major from Appendix 6 of the Beethoven works list by Kinsky can hardly be regarded as an authentic composition by Beethoven. Not so much the cantabile theme as rather the boundless dimensions of the composition (268 bars!), but above all the modest compositional technique (inter alia stereotype serniquaver figures first in the left, then in the right hand) place grave demands upon a “certification”, despite inclusion in the “original text edition”. The name of the person to whom the “Allaumblatt für Elise” (Bagatelle in A minor W/oO 59) was dedicated was long since altered. Apparently this little piano piece was intended for Therese Malfatti, the daughter of Beethoven’s physician. We are on firmer ground as regards the date: 27th April, 1810. A conspicuous aspect is the affinity as regards theme and mood with the finale of Sonata op. 31, No. 1, even though the various dimensions permit of no comparison. The resigned basic tenor of this tonal miniature continues to exist, despite the brief brighter passage in the F major centre section. - The title Fantasia (B major, op. 77) hints - as opposed to firmly linked form types - at the proximity of improvisation, of the spontaneity of music making. This is already underlined in this piece by renunciation of a uniform key. The composition begins in G minor and does not reach the main key of B major until the 157th bar. The harmonic path to this goal appears to be wide-ranging and unorthodox. In a broad sense Beethoven felt himself in this composition indebted to variation technique. - Drafts of the Allegretto in C minor (WoO 53) are connected with the Sonata op. 10, No. 1, for which the movement was perhaps intended as an intermezzo. Composed at an earlier stage than this demanding movement (1890) was the piece “Lustig-traurig” (joyful-sad) in C major and C minor, WoO 54). Due to the da capo direction, these are not two movements standing side by side, but rather a “cyclic work” results, the symmetry of which is produced by repetition of the C major part. A peculiar aspect is the dialectic penetration of both characteristics. - The Preludes through all major keys for Piano or Organ op. 39 are, like Prelude in F minor (WoO 55), the results of Beethoven’s Bach studies. The Andante in F major (WoO 57) is that “Andante favori” which Beethoven had originally envisaged as the second movement of the Waldstein Sonata (op. 53) but which he withdrew on the advice of his friends. Since then the four-section piece (Rondo) has led its own life. - In 1818 Beethoven wrote for the autograph-collecting Marie Szymanowska, a Polish pianist also highly esteemed by Goethe, the Piano Piece in B-flat major (WoO 60), designed in mini-format according to the rules of the sonata movement, in the course of which (totalling only 39 bars) an unusual modulation is worthy of especial note: the change from D-flat major to D major. The Piano Piece in B minor (WoO 61), a three-part work which Beethoven wrote in the guest book of his friend Ferdinand Piringer, is modest in its demands. For Sarah Burney Payne, daughter of the English music writer Charles Burney, Beethoven composed a 13-bar Piano Piece in F minor ( WoO 61a). In aphoristic brevity a process of arrangement is effected here which with the means of two-part style represents the utmost concentration. This tone miniature contains an exposition, “development”, reprise and coda - a masterpiece of formal-musical economy. The origins of the Polonaise in C major (WoO 39) are also connected with a certain personality. Beethoven’s friend, the doctor Andrea Bertolini recommended that the composer should write a polonaise, a popular dance at that time, and to submit it to the Russian empress on the occasion of the Vienna Congress. Beethoven at first disdainfully rejected the request, but later decided after all to compose a piece of this kind, with which he burst the bounds of formal power going far beyond such patterns as Chopin’s. Minuet in E-flat major (WoO 82), which Beethoven wrote in 1803, is more strongly linked with the traditional form types. Minuet in F major is a sketch, Beethoven’s authorship of which cannot be regarded as certain; thus in Kinsky’s Beethoven Works List it is entered among the doubtful compositions. Handed down under Beethoven’s name, although its authenticity cannot be regarded as certain, is a stylistically highly simple Minuet in A-flat major dated 1794 (?) which probably first appeared in the piano version as here recorded, and later also in a quartet version. - Two versions are also available of a March in B-flat major (WoO 29), which because of its original scoring for wind sextet was probably intended for the grenadiers music of Prince Esterházy in Eisenstadt on the occasion of Beethoven’s stay there in 1807. This tonal miniature (only 20 bars!) was transposed by Beethoven for the piano in two versions (distinguished from each other by dotting and simplifications). - Beethoven also transposed the March in F major (WoO 18) for piano, so that this composition has its legitimate place here. It is the first of two marches for military music arranged for the roundabout (horsemanship display) in honour of “the glorious name-day festival of Her Imperial and Royal Majesty Maria Ludovika in the Imperial and Royal Castle Garden in Laxenburg”, subsequently dedicated to the Bohemian militia and finally known as the “York’scher Marsch”. - Beethoven’s music for dancing. This sector includes not only the previously mentioned polonaise or the minuets, but also the Allemande (German Dance in A major WoO 81) dated 1800; in particular it incorporates all the music for use, such as the ecossaises, waltzes, German dances, Ländler, minuets and contredanses which Beethoven wrote for certain occasions and societies - as for instance the “Pension society for Viennese representative artists”. These dance movements were mainly adapted for set orchestrations of the Vienna dance music ensembles and subsequently transposed for the piano. For the greater part these pieces are transpositions which were not originally conceived for the piano sound and therefore are regarded as more of a supplementation of the piano music sector. The dances differ from arrangements in the usual sense in as much as Beethoven was responsible for the transposition. Special mention should be made of the 12 German Dances (WoO 13) and 12 Minuets (WoO 7), composed between 1795 and 1800, of which the orchestral versions are not available, but certainly those of the piano, effected by Beethoven. The situation is different as regards the 12 Contredanses (WoO 14) composed around 1800/1801, of which six each and three form separate groups, since only these were probably transposed by Beethoven himself for the piano and were eventually separately published in the piano setting. Beethoven took over two of them for the finale of the simultaneously composed music for the ballet “The Creatures of Prometheus”. In the first of the two pieces which turn up elsewhere (No.2 of the 6 Contredanses) the “Eroica” theme appears for the first time, which shortly afterwards (1802) forms the basis of the Eroica Variations op. 35, and finally (1803/1804) of the final movement of Symphony No. 3 (Eroica). by Gerhard Wienke (English translation by Frederick A. Bishop)