Writing for Grove Online, Christoph Wolff and Ulrich Leisinger say of J.S. Bach’s second son Carl Philipp Emanuel (1714-1788),
“He was the most important composer in Protestant Germany during the second half of the 18th century, and enjoyed unqualified admiration and recognition particularly as a teacher and keyboard composer.”
C.P.E. Bach’s most enthusiastic admirers included that great triumvirate of the Viennese Classical era, Haydn, Mozart and Beethoven, and of those composers whose careers straddled the transition from Baroque to Classical styles in the mid 18th century, C.P.E. has perhaps left the most extraordinary body of music, especially for the keyboard family of instruments.
C.P.E. Bach composed some 400 works for solo keyboard instruments. Sadly, much of this music fell out of use in the nineteenth century and it is only in recent decades that it has once more found itself championed by performers, the most recent of whom is the Canadian virtuoso Marc-André Hamelin.
Hamelin’s new release from the ever-brilliant Hyperion label is a 140-minute two-CD set showcasing a broad and irresistible range of C.P.E. Bach’s art.
It is surely destined to be recognised as one of the great recordings of the present decade, so join me as I take a closer look at this Pianodao Recording of the Month…
Beethoven’s 35 Piano Sonatas and 22 Variations sets are at the very summit not only of his own creative output for the instrument, but are a climax of the classical keyboard repertoire. They are not, however, the sum total of the great composer’s output for solo piano…
With their latest volume, Wiener Urtext Edition UT 50295 amass his other works in one essential 260-page reference compendium, including 31 pieces with opus numbers (all but one published in the composer’s lifetime) and 36 without, one of which was newly rediscovered in 2020.
All works included are edited from the sources by Jochen Reutter, whose recent edition of the complete Sonatas for Wiener Urtext I reviewed here, with fingerings and notes on interpretation by Sheila Arnold.
Wiener Urtext has further issued three shorter folio editions of individual works, and in this review I will also detail those for your interest.
In this review I will be looking at two recent volumes from publisher Henle Verlag which between them offer an excellent introduction to Beethoven’s 35 Piano Sonatas, in a superb new edition edited by Norbert Gertsch and concert pianist Murray Perahia.
Bärenreiter’s new urtext edition of Beethoven’s beloved Bagatelle is one of the most unexpectedly fascinating publications to arrive in a while, offering as it does a radically different version of the piece alongside the one we know so well.
Believed to have been composed between 1808-10, the autograph manuscript of Für Elise remained in private hands until 1865, at which point one Ludwig Nohl discovered it in the possession of a local piano teacher in Munich. Nohl published this version (we’ll call it “Version 1”) in 1867, and it’s the one we all play to this day. It’s really not bad.
How surprising to learn, then, that in 1822/3 Beethoven went back and revisited his earlier sketch, substantially revising it for publication within a planned (but unrealised) collection of 12 Bagatelles. Version 2.0.
Those sketches survive, and for Bärenreiter’s new edition Mario Aschauer presents not only the most authoritative text of Version 1, but also includes his fully performable completion of Version 2.
The review below includes Aschauer’s own recording of Version 2, so you can hear it for yourself and make up your own mind. Be prepared for a bit of a shock, though; right from the start, Beethoven’s revised version is very different to that which we know…
In early 1819, the well-known composer and music publisher Anton Diabelli (1781-1858), sent a 32-bar waltz to the most reputable composers of the Austrian Empire, together with an invitation to submit their variations for publication as a collaborative collection.
Among those who responded to the call were Czerny, Hummel, Moscheles, Schubert, and the eleven-year-old Franz Liszt, and from their contributions Diabelli was able to assemble a set of 50 Variations on his theme.
We only know for sure of one composer who explicitly declined Diabelli’s invitation to collaborate: Beethoven. It remains unclear why he did not want to participate directly, but he nevertheless composed his own monumental set of 33 Variations, not directly for Diabelli but exploring alternative avenues of publication.
Beethoven’s 33 Variations on a Waltz Op.120 quickly established itself not only as one of his most important keyboard works, but one of the pinnacle summits of the entire classical piano repertoire, entirely overshadowing the rest of the project.
Delivered for the recent Beethoven 250 anniversary year, Mario Aschauer’s landmark new scholarly performing edition of the Beethoven Diabelli Variations is an essential score for serious students of the work, published by Bärenreiter, BA 9657.
Perhaps even more interestingly however, Bärenreiter have also brought us their edition BA 9656, which includes Beethoven’s masterpiece together with Aschauer’s new edition of the 50 Variations on a Waltz composed by his contemporaries in response to Diabelli’s call.
Let’s take a closer look at this ambitious and exciting publication…
Just in time for the 250th anniversary of the birth Beethoven (1770-1827), Editions Musica Ferrum have published the tenth and final volume in their series 250 Piano Pieces for Beethoven, surely one of the most ambitious musical projects of recent years.
In this article I will offer an overview and brief review of the ten volumes before including a short interview with Musica Ferrum founder Nikolas Sideris…
Schott Music is one of the world’s oldest and most revered music publishers, with a back catalogue that includes first editions of some of the greatest compositions in the history of Western Music.
Founded in 1770 by Bernhard Schott in Mainz, the distinguished publishing house celebrates its 250th anniversary in 2020, and Pianodao joins the music-loving community in congratulating them on this brilliant milestone.
Schott have themselves released a few new publications in which they celebrate their heritage, two of which I am now reviewing.Carsten Gerlitz’s Happy Birthday Schott Music will be reviewed separately, and in this article I will be looking at The Joy of Music: Discoveries from the Schott Archives, a collection of virtuoso and entertaining pieces of piano music for advanced players.
As Schott explain:
“To mark this anniversary, the Schott publishing house has dug up and reedited treasures from its historical publishing archives.”
Let’s lift the lid and see what’s inside this treasure chest….
In the conclusion to my recent review of Bärenreiter’s recently published Jonathan Del Mar edition of the complete Beethoven piano sonatas, I noted,
“With the appearance of Jonathan Del Mar’s new benchmark edition for Bärenreiter, we have less of an excuse than ever when it comes to understanding and interpreting the master’s intentions… This magnificent resource is surely not only a new landmark in Beethoven scholarship, but for pianists its issue is the publishing event of the decade.”
In the light of such high praise, eyebrows might be raised at the spectacle of me now reviewing an alternative edition. However, it’s only fair to admit that however definitive an edition is (and the Del Mar edition is as definitive as they come), there is still space for more than one edition of these masterpieces on our shelves.
Given the complexity of establishing an exact text of these core works, and the performance considerations they raise, I certainly welcome the option of having a couple of editions to consult, especially if they offer complementary strengths and insights.
Also last year, and with the 250th anniversary of Beethoven’s birth clearly in sight, Wiener Urtext released their own fully updated and revised urtext edition of the Sonatas in three volumes, UT 50427/8/9.
Without detracting from my enthusiasm for the Del Mar edition in any way at all, there are good reasons why some players might welcome the strengths offered by the Wiener Urtext editions, or even prefer them; this review will focus on explaining what I think those are…
As publishers prepare for the 250th Anniversary of the birth of Beethoven, several have been revisiting his Piano Sonatas, a steady flow of which have been arriving for review over recent months.
First to deliver their new version of the complete cycle are Bärenreiter, whose edition of all 35 Sonatas (including the three early Sonatas WoO 47) is now complete and available in a variety of formats.
An epic achievement, this new edition has already won the hearts and minds of some of the world’s greatest Beethoven interpreters; those giving glowing endorsements include Marc-André Hamelin, Angela Hewitt, Stephen Hough, Robert Levin, Leslie Howard and Igor Levit (whose recording of the cycle I recently reviewed here).
To quote Paul Badura-Skoda:
“Jonathan Del Mar’s Beethoven edition is unparalleled in terms of its precision. What I value most about it is the use of lesser-known or previously unknown sources, the commentary, which is the most extensive to date, and the discussion of problematic sections. I wholeheartedly recommend this new edition of Beethoven piano sonatas.”
As the 250th centenary of the birth of Beethoven approaches, it’s no surprise that the major publishers are issuing new and updated editions of his major piano solo works.
The monumental cycle of 35 Sonatas (the “New Testament” of the solo piano repertoire) are inevitably a centrepiece of the release schedules of several major publishers, but Beethoven’s other piano works mustn’t be overlooked.
Happy news, then: Henle Urtext have brought out an updated edition of Beethoven’s Variations for Piano in two volumes. The first volume [HN 1267] appeared a couple of years ago, but it’s the second [HN 1269], now available, that may prove the more irresistible.
Undertaking a complete recording of the 32 published Piano Sonatas of Ludwig Van Beethoven (1770-1827) remains one of the monumental challenges for any concert pianist, and with the 250th anniversary of the composer’s birth next year it’s likely that the many accounts on disc will come under greater comparative scrutiny than ever.
Enter Igor Levit, who has previously impressed critics and audiences around the world both in recital and on disc. A Sony Classics artist, Levit is flying the flag for one of the world’s largest labels with his new 9CD set of the Sonata cycle, released this month.
These are interpretations which inevitably face comparison with the legendary recordings by such luminaries as Artur Schnabel, Wilhelm Kempff and Friedrich Gulda, beloved cycles by Stephen Kovacevich, Alfred Brendel and Claudio Arrau, and the more recent accounts by Paul Lewis, András Schiff, Jean-Efflam Bavouzet and (revelatory on fortepiano) Ronald Brautigam.
With such high stakes, let’s find out how Levit’s cycle fares …
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“Since my youth I have been fascinated by sonata form and, over a period of some forty years, all the programmes I have performed have been centred on works in that form. Therefore this book is a labour of love as much as, hopefully, a useful guide to some of the most marvellous music ever conceived.”
So writes Michael Davidson of his superb book The Classical Piano Sonata, which has since its publication in 2004 become something of a classic itself, and an indispensable guide for every serious pianist and music-lover.
Let’s take a closer look at the book, and evaluate what it is which makes it such an essential addition to the pianist’s library…
I often remind pupils and friends that the piano repertoire is an extraordinary treasury, and one which after several lifetimes of exploration would still yield up new gems and discoveries.
As if to prove the point, when I returned from a recent break in Moniaive I was surprised and delighted to see – among the packages awaiting me back at home – a splendid hardbound volume of piano music by Christian Gottlob Neefe (1748-1798), submitted for possible review by distributer Universal Edition on behalf of publisher Edition Dohr Köln.
Neefe’s name might be recognised by some as the composer of a charming Menuetto featured in ABRSM Grade 1 piano a few years ago.
But those who search the more distant recesses of their memories may recall mentioning him in their school-day essays about Beethoven; Neefe was young Ludwig’s principal piano teacher in Bonn.
As such, Neefe’s own compositions surely played a significant role in the latter’s music education, and thus attract peculiar interest. To what extent does his music inform Beethoven’s – and stand as a precursor to it?
Furthermore, as Beethoven’s piano teacher, Neefe himself joins the pianist lineage of those many of us who have traced our teaching line back to Liszt, Beethoven and beyond. This again adds personal resonance, however vague, in discovering his music.
In my recent review of Schott’s ‘My First Schumann’ I concluded :
“This is a collection that will “keep on giving”, with such a great selection of pieces for students to enjoy over a number of years… ‘My First Schumann’ is a brilliant introduction to one of the world’s greatest ever piano composers. Highly Recommended!”
Hot on its heels comes the latest book in the series, ‘My First Beethoven’. Can it repeat the success of the previous book? Let’s take a closer look…