Selected and Reviewed by Andrew Eales
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The new Masterpieces for Piano series from Edition Peters has proved one of the most exciting additions to the piano player’s library in recent months, and I have spared no blushes in my praise of the Schubert and Mozart titles.
Compiled by Roland Erben from the publishing house’s iconic Green Series of publications, each of these bumper books appears with an eye-catching cover artwork, newly engraved scores presented on luxury cream paper, and offers a significant cross-section of each composer’s solo music for intermediate to advanced pianists.
Joining the series, Beethoven Masterpieces for Piano is now the third title, completing an initial trilogy (and let’s face it, there is plenty of scope for the series to grow!). Once again, the publication offers a stunningly presented and keenly priced volume of indispensable music, but let’s consider whether it lives up to the excellence of the first two bumper anthologies…
32 Beethoven Classics
The 144-page volume contains the following Beethoven originals:
- Three German Dances from WoO 8
- Sonatina in G Anh 5 No. 1
- Bagatelle in C minor ‘Lustig – Traurig’ WoO 54
- Bagatelle in A minor No. 25 ‘Für Elise’ WoO 59
- Sonatina in F major Anh 5 No. 2
- Six Ecossaises WoO 83
- Bagatelle in G minor Op. 119 No. 1
- Adagio sostenuto from Sonata No. 14 ‘Moonlight’ Op. 27
- Bagatelle in F Op. 33 No. 3
- Allegro ma non troppo from Sonata No. 20 Op. 49 No. 2
- Minuet and Trio WoO 10 No. 2
- Bagatelle in G Op. 126 No. 5
- Adagio cantabile from Sonata No. 8 ‘Pathétique’ Op. 13
- Andante from Sonata No. 10 Op. 14 No. 2
- Minuet and Trio from Sonata No. 18 Op. 31
- Six Variations on a Swiss Song WoO 64
- Bagatelle in G minor Op 119 No. 4
- Largo appassionato from Sonata No. 2 Op. 2
- Six Variations Nel cor più non mi sento’ WoO 70
- Minuet and minore from Sonata No. 4 Op. 7
- Andante from Sonata No. 25 Op. 79
- Minuet and Trio from Sonata No. 7 Op. 10
- Rondo from Sonata No. 8 ‘Pathétique’ Op. 13
- Scherzo and Trio from Sonata No. 3 Op. 2
- Eight Variations ‘Une fièvre brûlante’ WoO 72
- Bagatelle in B[flat] Op. 119 No. 11
- Allegro from Sonata No. 12 Op. 26
- Bagatelle in C Op. 119 No. 2
- Seven Variations ‘God Save the King’ WoO 78
- Bagatelle in A Op. 119 No. 10
- Sonata No. 9 in E Op. 14 No. 1
- 32 Variations on an Original Theme in C minor
Something for everyone?
In common with the previous titles in the series, the volume opens with a well-judged selection of Beethoven’s finest easier music. Both of his popular Sonatinas (Anh.5) appear in full, rubbing shoulders with the well known Ecossaises, a few easy German Dances, and the bagatelles Lustig-Traurig and (of course) Für Elise.
It is fair to point out that these pieces regularly appear in the collections and graded anthologies used by intermediate players, though not necessarily with such a fine presentation. But adult players who love Beethoven, and are ambitious to progress to the more advanced works here, will surely find Beethoven Masterpieces for Piano a worthwhile and inspiring investment.
As the anthology unfolds, we find several more of the Bagatelles, alongside some of the easier Sonata movements. Here, I found a few of the choices a welcome surprise, but at this point the challenge facing Erben in his selection also becomes more obvious: most of us have our favourite Sonata movements to play and teach, and his choice may not match ours.
Being purely subjective, I was pleased to see both movements of the G major Sonata Op.49/2, which I have routinely taught over the last three decades, but surprised by the absence of its G minor companion Op.49/1 (or at least, the first movement).
Meanwhile, the second and third movement of the Pathétique appear (though not together), but not the first. Other favourite Sonatas such as the F# Major Op.78, the F minor Op.2/1, and the Presto alla tedesca from Op.79 are also missing, here. And while the decision to include the complete Sonata in E Major Op.14/1 is welcome, I personally prefer the G Major Op.14/2.
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We will also have to cope without the Andante favori and the Rage Over a Lost Penny in this volume, but this further highlights the point that, when it comes to Beethoven, the well of inspired choices runs very deep indeed. Such is life, and it could hardly be argued that these absences ultimately diminish what is undeniably a tremendous and representative compendium of classic Beethoven!
Finally, it’s a joy to find several sets of Variations included here, in particular the delightful (and pedagogically rich) Six Variations Nel cor più non mi sento’ WoO 70, which are unjustly overlooked by many. The 32 Variations on an Original Theme in C minor is admittedly a surprise, albeit another happy one: this particular masterpiece is surely one of the most challenging works on the present ARSM diploma syllabus.
One last point to note about this edition is outlined in its introduction: all the fingering suggestions and editorial guidance included throughout the volume have been derived from the publisher’s Green Series editions. For most learners and players this will be welcome news, while purists in search of a modern urtext edition will easily find that elsewhere.
Closing Thoughts
Subjective choices will always offer much food for thought and debate, but being objective, let me state clearly that Beethoven Masterpieces for Piano presents a stunning selection of terrific music.
This is a truly commendable cross-section of the composer’s extraordinary solo piano output, Erben fulfilling his brief with genuine aplomb. And simply put, eschewing some of the perhaps obvious choices in favour of a more varied selection ultimately works in the book’s favour.
A perfect gift for any enthusiastic classical pianist, and a wonderful resource for learners young and not-so-young, I believe Beethoven Masterpieces for Piano deserves a place next to the companion Mozart and Schubert volumes on the music shelves of players everywhere. And I hope to see this brilliant series continue to grow in the coming years!
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