DXVII. BEETHOVEN, Ludwig van: Overture to King Stephen, Op. 117

DXVII. BEETHOVEN, Ludwig van (1770-1827)

Overture to King Stephen, Op. 117 (1811)
Vienna Philharmonic Orchestra
Claudio Abbado, cond.
(6:37)

We have only to glance at Thayer's list of compositions completed in 1811 to see what an unproductive year it was for Beethoven, who spent much of the year recovering from various ailments at Teplitz.

• Trio in B-Flat Major, Op. 97
• Music to the Ruinen von Athen, Epilogue by August von Kotzebue, Op. 113
• Music to König Stephan, Ungarns erster Wohlthäter, a Prologue by Kotzebue, Op. 117
• Song by Stoll, An die Geliebte, WoO 140. Two versions both dated December.

Kotzebue (1761-1819) was later assassinated by a politically-motivated theology student in Mannheim.

The King Stephen commission came from the Hungarian city of Pest for the opening of a new theatre. The movements following the overture depict the life of the founder of modern Hungary in the late 10th and early 11th centuries.

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Beethoven carefully incorporated the Hungarian musical traditions, for example, the folk styles of lassú and friss (slow and fast). First a blast of four notes, then an andante starting on the subdominant:

It repeats, raised a whole tone:

 

with the final D being the bass of a first inversion dominant, B-Flat Seventh chord. Beethoven holds the dominant B-Flat ...

... adding an F-Sharp in the bassoon, creating an augmented B-Flat chord:

which leads into the tonic for the lively Presto:

These syncopations are a nice touch:

Let's compare this next section of King Stephen :

with this section from the Ninth, ten years later!

Now Beethoven returns to the slow, four-note motif, this time in yet a different sequence:

transitioning to G Major. However, he soon introduces a long B-Flat Seventh chord -- adding the F-Sharp (creating an augmented chord) again at the last minute which leads into the Presto in the tonic:

Beethoven teases us with the slow melody one last time:

before returning first to the phrase that resembles the Ninth, and then to the original Presto theme -- and finally ending the overture in the triumphant tonic:

DXVI. DVOŘÁK, Antonin: Nocturne in B Major, Op. 40

DXVI. DVOŘÁK, Antonin (1841-1904)

Nocturne in B Major, Op. 40 (1883)
Orpheus Chamber Orchestra
(7:29)
[scrolling score]

This gorgeous music originated as a slow movement for both a string quartet and quintet; he eventually published it as this stand-alone quintet for string orchestra, also creating versions for violin and piano, and piano four-hands.

The first four minutes refuse the tonic, with the basses plucking on F-Sharp. When it does finally reach the tonic, the harmony moves through thick masses of richness, typical of his string writing.

DXV. HAYDN, Franz Joseph: Sonata #22 in E Major for Piano

DXV. HAYDN, Franz Joseph (1732-1809)

Sonata #22 in E Major for Piano (1773)
1. Allegro moderato (6:00)
2. Andante (3:39)
3. Finale: Tempo di Menuet (4:10)
Ursula Dütschler, piano

First movement

E Major -- a bright, spritely key.

Haydn moves to the dominant for the second subject. Beethoven was fond of this sort of two-hand interplay:

Several bars of the dominant B precedes a return to the tonic:

Second movement

A lyrical flow of 16th-note triplets in the parallel minor (E); check out how Haydn creates a feeling of two across a few bars ...

Third movement

A lovely minuet, moving nicely from major to minor -- an insistent octave of B's in the bass reinforce the movement back to major.

DXIV. LIGETI, György: Andante and Allegretto for String Quartet

DXIV. LIGETI, György (1923-2006)

Andante and Allegretto for String Quartet (1950)
1. Andante cantabile
2. Allegretto poco capriccioso
Molinari Quartet
(12:52)

A nice live performance of what Ligeti referred to as his prehistoric period.

Written for his final examination at the Franz Liszt Academy in Budapest, the work definitely reflects his uncertainty about what he might have been hearing in his head -- but knew what was impossible in Communist Hungary.

In his rush to leave after the revolution in 1956, he left behind most of his manuscripts. This one he somehow decided to take with him. We are fortunate, because this music represents the repressive environment of his prehistoric life.

DXIII. BEETHOVEN, Ludwig van: Marmotte, Op. 52, No. 7

DXIII. BEETHOVEN, Ludwig van (1770-1827)

Marmotte, Op. 52, No. 7 (ca. 1790)
Ian Bostridge, baritone
Antonio Pappano, piano
(1:48)

Poem by Goethe.

I have come already through many a land
With the marmot
And always found something to eat
With the marmot
Here and there
With the marmot

I have seen so many men
With the marmot
That love the maidens all so well
With the marmot
Here and there
With the marmot

I've also seen the fair maiden
With the marmot
Who look at the little man that I am
With the marmot
Here and there
With the marmot

Now do not let me go like this, you gentlemen
With the marmot
The fellows love to eat and drink
With the marmot
Here and there
With the marmot

DXII. MARCELLO, Alessandro: Concerto #5 in B-Flat Major for Two Oboes

DXII. MARCELLO, Alessandro (1673-1747)

Concerto #5 in B-Flat Major for Two Oboes
1. Moderato
2. Larghetto staccato
3. Presto, ma non molto
Heinz Holliger, oboe
Louise Pellerin, oboe
Camerata Bern
(6:50)

Born in Venice to a noble family, Marcello was free to compose music without worrying about getting paid.

The influence of both Albinoni and Vivaldi is evident.

The Presto is particularly brilliant both oboes dancing and fluttering above a simple string accompaniment.

DXI. GLAZUNOV, Alexander: March on a Russian Theme, Op. 76

DXI. GLAZUNOV, Alexander (1865-1936)

March on a Russian Theme, Op. 76 (1901)
Moscow Symphony Orchestra
Konstantin Krimets, cond.
(4:50)

Even Glazunov's minor works sparkle with orchestral magic.

Here he creates a March from a simple Russian folk tune

Brilliant trumpets:

Modulates to A-Flat:

And then to C Major:

 

And from A-Flat back to E-Flat through this clever second inversion A-Flat Minor Seventh chord:

Final triumphant bars:

DX. HANDEL, George Frideric: Water Music

DX. HANDEL, George Frideric (1685-1759)

Water Music (1717)
Suite #1 in F Major, HWV 348
1. Ouverture (Largo -- Allegro)
2. Adagio e staccato
3. (Allegro) -- Andante -- (Allegro da capo)
4. (Menuet)
5. Air
6. Menuet
7. Bourrée
8. Hornpipe
9. (Andante)
Suite #2/3 in D/G Major, HWV 349/350
10. (Ouverture)
11. Alla Hornpipe
12. (Menuet)
13. Rigaudon
14. Lentement
15. Bourrée
16. Menuet
17. (Andante)
18. (Country Dance I/II)
19. Menuet
Akademie für alte Musik Berlin
George Kallweit, cond.
(54:12)

Handel and King George

It was not without major difficulties of succession that George I become king in 1714. His son -- who became The Prince of Wales upon his father's coronation, and later became George II -- did not get along with papa.

If one reads the details in the above links, one will discover that the music that is the subject of this post played a very important part in the twisted history of these personages.

George I was eager to garner public support as his son was constantly irritating him. Thus -- thinking big -- he commissioned Handel to write this music which would be played on river barges on the Thames, from Whitehall up river to Chelsea, where they would then have a lavish supper.

His Majesty liked the piece so well, that it was repeated three times during the trip. The Prince and Princess of Wales were notably absent from the festivities.

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Naturally, there is confusion over what was and was not included in the original Water Music -- but these three suites constitute the music that has been handed down to us over the centuries:

Suite #1 in F Major, HWV 348

1. Ouverture (Largo -- Allegro)

The stately Largo opening, with its four-note motif (three 16ths-1/4-note) is followed by an exciting Allegro:

2. Adagio e staccato

D minor, with a plaintive oboe above simple string accompaniment:

3. (Allegro) -- Andante -- (Allegro da capo)

Perhaps one of the most recognizable sections of the suites, this glorious Allegro features two horns in a call-and-response with the strings.

This syncopated motif is just sick -- so cool:



A D Minor Andante separating the da capo:

4. (Menuet)

The horns get a few moments in this Menuet with a Trio sans horns in D Minor:

5. Air

Another recognizable movement. This cadence to the dominant is particularly moving:

6. Menuet

Opening with solo horns, followed with a tutti, and a Trio in the parallel minor (F):

7. Bourrée

Repeated three times with the indicated orchestration:

1. Strings and continuo
2. A wind trio (2 oboes, bassoon)
3. The full ensemble

8. Hornpipe

As above, performed three times by the same combination:

9. (Andante)

D Minor, winds and strings alternately playing separately and then together. Handel ends things with a serious Adagio:

Suite #2/3 in D/G Major, HWV 349/350

10. (Ouverture)

Trumpets are now added (which surely would have been included on the barge!), but there is no timpani part indicated, and the account by the Russian London resident, Friedrich Bonet does not mention them. The occasional use of the violins as a high "bass" to the trumpets strongly suggests that Handel wrote the music without any expectations that drums would be added; they would not have fitted easily on to the musicians' barge. Nevertheless, they are used in this performance:

11. Alla Hornpipe

Another memorable movement. Notice how Handel divides the music into bars of five, rather than the usual four -- that extra bar adds suspense:

12. (Menuet)

From HMV 530. A lovely flute solo:

13. Rigaudon

A sprightly dance in two sections:

14. Lentement

A da capo stately slow movement, perhaps with the aim of assisting digestion:

15. Bourrée

16. Menuet

17. (Andante)

18. (Country Dance I/II)

19. Menuet