Beethoven | Deutsche Welle

Beethoven's 'Kreutzer Sonata' is one of the most famous chamber music works ever written. It inspired Leo Tolstoy to write a novella and Leos Janacek to his string quartet of the same name in 1923.Ludwig van Beethoven Sonata No. 9 in A Major for violin and piano, op. 47 (Kreutzer): 2nd movement: Andante con variationi (I-IV) Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 19, 2011 When British violinist George Bridgetower and Beethoven got to know each other in 1803, the composer immediately set to work writing an extremely virtuosic violin sonata for his new friend. But before it went to print, the two firebrands found themselves in a bitter argument (supposedly involving a young woman) - and Beethoven instead dedicated the work at the last minute to French violinist Rodolphe Kreutzer. Kreutzer never played the sonata however, deriding it as incomprehensible and unplayable. Clearly, Beethoven had created a work that burst the bounds of the violin sonata form. Beethoven noted in the subtitle, "Scritte in uno stile molto concertante, quasi come d'un concerto" ("Written in a very concertante style, almost like a concerto"). "This is just the character of the Kreutzer Sonata I love," explained Itamar Golan. "You've got two men on stage playing an entire concerto with the violin and piano. There's no orchestra. It's just unbelievable." For both Itamar Golan and Julian Rachlin, the virtuosic, passionate parts aren't the most important in the piece, but rather the meditative second movement. "It exudes lightness and peace, but Beethoven spices it up with syncopation and trills," Golan added. Author: Marita Berg / gsw Editor: Rick Fulker

The sonatas in op. 30 are revolutionary works by a revolutionary composer. One commentator called this sonata one of the most harmonious in the ten-part cycle. Ludwig van Beethoven Sonata No. 8 in G Major for violin and piano, op. 30, No. 3: 3rd movement: Allegro vivace Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 19, 2011 Hungarian-American violinist Joseph Szigeti (1892-1973), known for his collaborations with Benny Goodman and Bela Bartok, came up with perhaps the best description of this sonata. Szigeti wrote that in it, the listener enters a sphere of perfection: "The radiant cheer of the first movement, the gently detached beauty of the minuet and the spirited merriness of the final rondo - it all adds up to one of the most harmonic works of the entire series." "Almost every one of these ten violin sonatas has revolutionary characteristics," said violinist Julian Rachlin. "Starting in op. 30, Beethoven stands all of the usual traditions on their head. That is revolution. For more than fifty years, the violin had been seen just as an accompanying voice, and Beethoven infuses the instrument with its own life, plays with its colors and brings it into a real dialogue with the piano." Author: Marita Berg / gsw Editor: Rick Fulker

Beethoven's opus 30 'middle' violin sonatas point the way toward his later work. 'They have something of the incredible depth and drama of the later pieces,' said Julian Rachlin. Ludwig van Beethoven Sonata No. 7 in C Minor for violin and piano, op. 30, No. 2: 4th movement: Finale. Allegro - Presto Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 18, 2011 Beethoven wrote the sonatas of opus 30 in 1801 - the time in which he became aware that his hearing was growing worse and that he would go deaf. That plunged Beethoven into despair, but it also turned him into a fighter. Putting all of his energy into his compositions, he set out to create new sounds and forms of expression. The liberated voices heard in op. 30 are one result. Another is the addition of a fourth movement in op. 30, Nr. 2, revolutionizing the three-movement sonata form. "With this form, Beethoven took a huge step into the future - in the direction of the grand sonata," said Itamar Golan. "But that's not all. The passionate tone and the dramatic gesture all clearly point the way for developments in the violin sonata through the late 19th century. As usual, Beethoven was well ahead of his time." Author: Marita Berg / gsw Editor: Rick Fulker

Violinist Julian Rachlin calls the sonatas of opus 30 'key works' within the cycle, as they mark Beethoven's departure from the tradition of focusing on the piano. 'For me, it's a revolution,' Rachlin said.Ludwig van Beethoven Sonata No. 6 in A Major for violin and piano, op. 30, No. 1: 2nd movement: Adagio molto espressivo Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 18, 2011 In 1801, just after Beethoven had finished composing the sonatas of op. 23 and 24, he began sketching new violin sonatas. By early 1802, three new works - in A Major, C Minor and G Major - were finished. Beethoven clearly treads new paths here, treating both piano and violin as full equals and no longer distinguishing between melodic and accompanying instrument. Instead, both share themes inseparably, both present the essential musical ideas and motifs. "I love the A Major Sonata, its purity and intensity," said Julian Rachlin. "I consider it a bridge between the early and later sonatas. Here, for the first time, Beethoven really turns the listener's expectations upside down." Author: Marita Berg / gsw Editor: Rick Fulker

For Julian Rachlin, each of Beethoven's violin sonatas is a challenge, revealing new aspects of the composer. 'My favorites are the ones you don't hear so often,' Rachlin said.Ludwig van Beethoven  Sonata No. 4 in A Minor for violin and piano, op. 23: 1st  movement: Presto Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 17, 2011 It's unfortunate that Beethoven's A Minor Sonata of op. 23 is "not often heard," remarked Ferdinand Ries, one of Beethoven's piano students. Published in 1801 and dedicated to Count Moritz von Fries, the piece stood somewhat in the shadow of its companion work, the famous "Spring Sonata" of op. 24. Beethoven often worked simultaneously on contrasting works within a genre, but for many, this particular violin sonata seemed too odd and too bleak. Even today, the A Minor Sonata is relatively seldom played. Nonetheless, said Itamar Golan, "I have no idea why some works within a cycle become so much more popular than others." Julian Rachlin enjoys performing neglected works because they're often especially experimental, and he likes to draw out their power: "I always want to narrate or express something. And that includes narrating new things, with other colors than usual, in order to get the listener's attention or perhaps provoke a new understanding. I can do that with my instrument ten times better than I can verbally!" Author: Marita Berg / gsw Editor: Rick Fulker

Julian Rachlin is considered one of the most exciting violinists of our time. Playing Beethoven's early violin sonatas in the composer's childhood home, he draws out the composer's humorous charm.Ludwig van Beethoven Sonata No. 3 in E-flat Major for violin and piano, op. 12, No. 3: 1st movement: Allegro con spirito Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 17, 2011 When Beethoven wrote his first violin sonatas, the genre was just half a century old. Generally, the works were composed for piano with the violin lending an accompanying voice. Mozart, as an accomplished violinist, was the first to forge the duet form within the genre, letting the two instruments take the stage as equals. Beethoven wrote his violin sonatas in the same spirit, as the Viennese composer and music writer Ignaz von Mosel recognized: "Beethoven is a worthy follower of Mozart's, although a completely new spirit and taste breathes in his works!" "We've been working on the violin sonatas for years," said pianist Itamar Golan, "And although we probably know every single note, we always discover something new. It's a never-ending search." In the three sonatas published in op. 12, Beethoven largely sticks to the convention of the violin as accompaniment. But he begins to play with that tradition. "Okay, in the first and last movements of the third sonata, the piano does indeed have a brilliant upper hand, but the violin takes center stage more and more during the melodic passages," Golan added. Author: Marita Berg / gsw Editor: Rick Fulker

The early violin sonatas are 'something wonderful,' says violinist Julian Rachlin. Beethoven was at the very start of his career - a bit cheeky and going his own way.Ludwig van Beethoven Sonata No. 2 in A Major for violin and piano, op. 12, No. 2: 3rd movement: Allegro piacevole Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 18, 2011 In his early violin sonatas of op. 12, Beethoven experiments cautiously with giving equal treatment to piano and violin. He puts the spotlight on the violin during longer melodic passages in the slow movements but for stretches in the energetic opening and closing movements, relegates it to the role of an accompanist. One exception comes in the third movement of his Sonata No. 2, which lacks the exuberance of the other sonatas' closers. Instead, we hear a cheerful, playful but also relaxed rondo with the two instruments tossing the ball back and forth. And even though the composer gives the "final word" to the piano here, he seems to do so with a wink. "That's just the fascinating thing about Beethoven - his humor," said Itamar Golan. "Of course it's clear he intended it to be funny. Maybe it's what Germans call Rhineland humor. But his brand of humor is often so subtle, so much in the background, that the first time you play or hear the works, you may not pick up on what he really meant." Author: Marita Berg / gsw Editor: Rick Fulker

Performing all ten of Beethoven's violin sonatas is a dream come true for Julian Rachlin and Itamar Golan. Their favorites include the early sonatas, which show 'something wonderful, something naive, something pure.'Ludwig van Beethoven Sonata No. 1 in D Major for violin and piano, op. 12, No. 1: 3rd movement: Rondo. Allegro Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 17, 2011 The duo of violinist Julian Rachlin and pianist Itamar Golan told DW, "Playing Beethoven in the house and city where he was born is a huge honor, very demanding and spectacular." In early 1799, when Ludwig van Beethoven took his first stab at publishing works for violin with the three violin sonatas of opus 12, he dedicated them to the composer Antonio Salieri. New on the scene and unknown in Vienna, Beethoven was out to make a name for himself by getting in with Salieri. That most influential man in Vienna's music scene would have been able to open many doors for the young composer. To Beethoven's contemporaries, these early works brimmed with new and unusual sounds. Critics at the time observed, "It's undeniable that Mister Beethoven is going his own way - but what a bizarre way it is indeed!" For Julian Rachlin, it's no wonder that Beethoven's contemporaries could only shake their heads. "Beethoven was a young and wild guy with revolutionary potential. It's the same as in the past century, when people got into a fuss about the new rhythms of rock and roll. The syncopations in this rondo set his contemporaries to stomping their feet." Author: Marita Berg / gsw Editor: Rick Fulker

Three outstanding ensembles join forces on stage to present Hector Berlioz' last symphony near the close of the Beethovenfest 2010.Hector Berlioz (1803-1869) Grande Symphonie funebre et triomphale, op. 15 H80: Apotheose Philharmonic Chorus Bonn Music Corps of the German Armed Forces, Siegburg Beethoven Orchestra Bonn Conductor: Stefan Blunier MP3 recorded in the Beethoven Hall, Bonn on October 8, 2010 by West German Radio, Cologne (WDR) Three ensembles drawn from the region around Beethovenfest host city Bonn take the stage in this unusual work: Bonn's Philharmonic Choir, the Music Corps of the Armed Forces from nearby Siegburg and the Beethoven Orchestra Bonn. They join forces in a powerful rendition of the Grand Funeral and Triumphal Symphony by Hector Berlioz. The symphony commemorates the French Revolution of 1830, in which King Charles X was overthrown. It was commissioned and originally performed ten years after the revolution as the graves of those who died were moved to the historical Place de la Bastille, the site where the first French Revolution of 1789 broke out. In the final movement, Berlioz invokes the full range of the revolution's drama and bloodshed. Cymbals clash and snares flare as the choir sings, "Glory and triumph for these heroes, whose graves lie in the fields of the motherland!" Author: Greg Wiser Editor: Rick Fulker

"Into the Open: Freedom and Utopia in Music" was the motto of the Beethovenfest 2010. A perfect example is Ludwig van Beethoven's Third Symphony, the "Eroica."Ludwig van Beethoven (1770-1827) Symphony No. 3 in E-flat Major, op. 55 (Eroica), 2nd movement: Marcia funebre. Adagio assai Bamberg Symphony Orchestra Conductor: Jonathan Nott MP3 recorded in the Beethoven Hall, Bonn, on October 3, 2010 by Deutschlandfunk, Cologne (DLF) Never before had a composer of symphonies availed himself of so many artistic freedoms as did Beethoven in this work, where a struggle for utopian ideals is palpable. The Bamberg Symphony is an orchestra with an unusual history. It was founded in 1946 by Germans in exile, some former members of the German Philharmonic in Prague, others having fled from Carlsbad and Silesia in the months and years following World War II. The new orchestra quickly earned an excellent reputation. With its extensive touring activities, it acquired the nickname "Bavaria's cultural ambassador to the world." Former conductors of the Bamberg Symphony Orchestra include Joseph Keilberth, James Loughran, Horst Stein and Eugen Jochum. In 2000, British maestro Jonathan Nott took the helm, leading the orchestra from triumph to triumph in Germany and abroad. Nott's trademarks are imaginative programs and an open-minded attitude toward new music. Autor: Rick Fulker Editor: Greg Wiser

This piece by Brazilian composer Heitor Villa-Lobos melds the influences of his home country's music with those of Bach and the classical canon.Heitor Villa-Lobos (1887-1959) Bachianas Brasileiras No. 4 Sinfonica Heliopolis Conductor: Peter Guelke MP3 recorded in the Beethoven Hall, Bonn, on October 6, 2010 by Deutsche Welle (DW) "The polyphony here is an expression of Brazilian culture and lust for life," said conductor Peter Guelke of the "Bachianas Brasileiras." In these pieces, the Brazilian composer melds the folklore of his homeland with the world of the Baroque. Johann Sebastian Bach's instrumental suites may have served as a model. The result is a sort of South American-German world music, seemingly custom-made for the energetic young musicians of the Sinfonica Heliopolis, whose rhythmic drive is compelling and sheer joy in playing unlimited. Author: Greg WiserEditor: Rick Fulker

The youth orchestra from the Brazilian slum of Heliopolis performs Schubert's Seventh Symphony, a piece with dimensions that are often overlooked, says conductor Peter Guelke.Franz Schubert (1797-1828) Symphony No. 7 (Unfinished) Sinfonica Heliopolis Conductor: Peter Guelke MP3 recorded in the Beethoven Hall, Bonn, on October 6, 2010 by Deutsche Welle (DW) Contrast is the watchword for this symphony performed by the Brazilian orchestra Sinfonica Heliopolis, a work the composer left incomplete. "The conflict at the center of the piece is between a deeply passionate person and his harsh environment," said conductor Peter Guelke. "But many of us have heard this piece so often that we no longer hear the harshness in it. We think we know it, but we don't." The theme of passionate resistance to a harsh environment parallels the orchestra's own story. Although many come from disadvantaged backgrounds, the young musicians in Sinfonica Heliopolis receive the financial support necessary to get an education in classical music at the Instituto Baccarelli, founded in 1996 by conductor Silvio Baccarelli. Following their performance, conductor Guelke introduced two of the horn players to the audience, to thunderous applause. Both less than fifteen years old, the two showed just how young some of the ensemble's members are. But Sinfonica Heliopolis also proves their musical maturity with their rendition of this Schubert symphony. Author: Greg WiserEditor: Rick Fulker

Sinfonica Heliopolis sets the stage for their second Beethovenfest concert with an exciting performance of Wolfgang Amadeus Mozart's overture to his final opera, "La Clemenza di Tito."Wolfgang Amadeus Mozart (1756-1791) Overture to the opera "La Clemenza di Tito," K. 621 Sinfonica Heliopolis Conductor: Peter Guelke MP3 recorded in the Beethoven Hall, Bonn, on October 6, 2010 by Deutsche Welle (DW) Sinfonica Heliopolis - the orchestra's name suggests the sun-bathed streets of its home city, Sao Paulo, Brazil. But Heliopolis is also the city's largest slum and home to many of Sinfonica Heliopolis' members. Among the works they played during the first stop of their first international tour was the overture to opera "La Clemenza di Tito" by Wolfgang Amadeus Mozart. The work was one of the last that Mozart wrote before his death in 1791. Legend has it that the great composer finished the piece in eighteen days, just in time for its performance during the coronation festivities of Emperor Leopold of Prague. The exact amount of time Mozart required is contested, but it's generally agreed that the work was composed with remarkable speed. Overtures in opera generally accompany the opening of the curtain and grab the audience's attention. Sinfonica Heliopolis set the stage for their concert, fittingly, with this overture. Right from the beginning, the orchestra's enthusiasm for playing music drew in the audience. Hear it for yourself in this recording from their second concert at the Beethovenfest 2010. Author: Greg WiserEditor: Rick Fulker

Music that bears witness to life by Luigi Nono, rendered by a string quartet that is young, curious and adventurousLuigi Nono (1924-1990) Fragments – Quietude. An Diotima for string quartet (excerpt) Minguet Quartet MP3 recorded at the Beethoven House, Bonn on September 24, 2010 by Deutsche Welle (DW) "All of my works are based on some human incentive: an event, an experience, a text of our life touches my instinct and my conscience and expects from me that I bear witness, both as musician and as human being," the Italian composer Luigi Nono wrote. One of the most important composers of the post-World War II period, Nono provoked numerous cultural-political controversies and scandals due to his political convictions. A half century later, Nono still sounds strikingly new, especially as rendered by the Minguet Quartet. Annette Reisinger, violinist in the quartet, elaborated on the theme of this year's Beethovenfest, "Into the Open," in these words: "Having the courage to step out into the open means being prepared for freedom, being prepared for the good fortune of emptiness, the material from which music is made. Every day, a musician gingerly tries to dismantle human hurdles to reach that pure state of happiness." Author: Suzanne Cords (als) Editor: Rick Fulker

The internationally acclaimed Minguet String Quartet, named after the Spanish philosopher Pablo Minguet, plays Beethoven in the sold-out chamber music hall of the Beethoven House.Ludwig van Beethoven (1770-1827) String Quartet No. 15 in A Minor, op. 132, (Galitzin III), 3rd movement Minguet Quartet MP3 recorded at the Beethoven House, Bonn on September 24, 2010 by Deutsche Welle (DW) Ludwig van Beethoven was ill when he composed the third movement of his "Galitzin Quartet III." "My doctor helped me, for I could no longer write notes [Noten: music], but now I write notes which help me out of my need [Noeten]," the composer allegedly punned when he completed the work. The movement heading is fitting: "Molto adagio - A Convalescent's Holy Song of Thanks to the Divinity, in the Lydian Mode." Author: Suzanne Cords (als) Editor: Rick Fulker

A piece composed with notes in an enigmatic scale, ceremonial and solemn, given four voices on strings in this performance.Guiseppe Verdi (1813-1901) "Ave Maria" (Scala enigmatica armonizzata a 4 voci miste e sole) from the "Quattro Pezzi Sacri“ (Four Sacred Pieces) Minguet Quartet MP3 recorded at the Beethoven House, Bonn on September 24, 2010 by Deutsche Welle (DW) For over 150 years, Giuseppe Verdi's "Ave Maria" has been played at celebrations and funerals. The Italian composer originally set the song for four-voiced choir and composed it in a "scala enigmatica," a cryptic scale. It is one of the four-part cycle "Quattro Pezzi Sacri" (Four Sacred Pieces). Cologne's Minguet Quartet offers a light, yet powerfully dynamic interpretation of "Ave Maria" at the Beethoven Festival 2010. Author: Suzanne Cords (als) Editor: Rick Fulker

Cologne's Minguet Quartet, one of the finest of the younger generation, plays 15th century music at the Beethovenfest.Johannes Ockeghem (approx. 1420-1497) Quatre Chansons (Four Songs) Minguet Quartet MP3 recorded at the Beethoven House, Bonn on September 24, 2010 by Deutsche Welle (DW) Johannes Ockeghem was a Flemish composer and cleric. His contemporaries described him as a generous and fair man, and his music was praised and enjoyed universally. The Cologne-based Minguet Quartet is one of the most in-demand younger generation string quartets. It consists of Ulrich Isfort and Annette Reisinger (violins), Aroa Sorin (viola) and Matthias Diener (cello). Educated in Essen and Cologne, the four musicians received important artistic impulses from Walter Levin of the LaSalle Quartet and from the Amadeus, Melos and Alban Berg Quartets. In acknowledgment of their status, the Arts Foundation of North Rhine-Westphalia donated a set of valuable instruments to the Minguet Quartet. Author: Suzanne Cords (gsw) Editor: Rick Fulker

Performances by percussionists are somewhat of a sporting event: with an armada of instruments, Martin Grubinger & Friends are as interesting to watch as they are to listen to.Iannis Xenakis (1922-2001) Pleiades for 6 percussionists: (IV.) Peaux Martin Grubinger (percussion) Leonhard Schmidinger (percussion) Rainer Furthner (percussion) Sabine Pyrker (percussion) Rizumu Sugishita (percussion) Slavik Stakhov (percussion) MP3 recorded in the Beethoven Hall, Bonn on September 25, 2010 by Deutsche Welle (DW) The panoply of a multi-percussionist is impressive: in addition to conventional drums, there are all sorts of unusual instruments like bells, whistles, stones and sirens. To watch how often and deftly Martin Grubinger and his fellow percussionists move among their vast array of instruments is an exercise in fascination. The Greek composer Iannis Xenakis was one of the first to extract the percussion section from a symphony orchestra and assign it a role of its own. In "Pleiades," he created a sound both serious and celebratory, as Greek mythology can be, and yet there's something reminiscent of Asian rituals in it - a sound that sets one's teeth on edge, inescapable, louder than at a rock concert, a sound with which the listener's body itself seems to resonate. Autor: Rick Fulker Editor: Louisa Schaefer

Surround sound in real-time with no electrical transformation: Martin Grubinger & Friends let their music flow through the Beethoven Hall and give a breathtaking performance.Iannis Xenakis (1922-2001) Persephassa for 6 percussionists Martin Grubinger (percussion) Leonhard Schmidinger (percussion) Rainer Furthner (percussion) Sabine Pyrker (percussion) Rizumu Sugishita (percussion) Slavik Stakhov (percussion) MP3 recorded in the Beethoven Hall, Bonn on September 25, 2010 by Deutsche Welle (DW) Two percussionists stand at the left and right of the stage, four more stand left and right at the front and back of the hall - literally creating "surround sound." As a result, the best spots in the Beethoven Hall this time around were smack in the center. The first notes of "Persephassa for 6 percussionists" made it clear it would be a breathtaking concert. How could six musicians standing so far apart from each other achieve such an extremely precise, complete sound? An electronic metronome coordinated the whole event, with a click sounding in their ears that told them to speed up or slow the tempo. The programming of the metronome alone was a finely orchestrated feat, and a laborious process, percussionist Martin Grubinger told the audience. Numerous contemporary composers have written music for Grubinger, who was just 27 years old at this Beethoven Festival concert in September 2010. Blessed with a photographic memory, he can normally play without a score in front of him. But when it comes to composer Iannis Xenakis's music, "normal" just doesn't cut it… Author: Rick Fulker Editor: Louisa Schaefer

It's mathematically composed music that's become a cult: Martin Grubinger & Friends play music by Iannis Xenakis before a diverse, wildly enthused audience.Iannis Xenakis (1922-2001) Okho for 3 percussionists Martin Grubinger (percussion) Leonhard Schmidinger (percussion) Rainer Furthner (percussion) MP3 recorded in the Beethoven Hall, Bonn on September 25, 2010 by Deutsche Welle (DW) The Beethoven Hall is packed to the gills with people of all different ages. It's rare to see so many pupils and college students at a classical concert - especially with Iannis Xenakis on the program, whose music, written in the 1960s, is not exactly "easy-listening." Xenakis was a composer, architect and mathematician. His extremely complex compositions make clear the strong connection between music and mathematics. Chaos theory informs "Okho for 3 percussionists," in which the beats of the three percussionists sound out together, but then continually separate themselves by nano-seconds, growing ever further apart until they ultimately come back together in unison. Through music, Xenakis demonstrates how order dissolves into chaos. The interaction between periodic and aperiodic sounds is only one aspect of this rational music calculated with mathematical formulas, which paradoxically makes a surprisingly strong emotional, even ecstatic impact. Author: Rick Fulker Editor: Louisa Schaefer