Beethoven Archives - Vancouver Recital Society

The late 1840s saw Schumann take up “house music” in a big way. This does not mean that he began to DJ at raves, playing dance music with repetitive drum tracks and synthesized basslines. Rather, he had a productive period composing music specifically designed for the home market: Hausmusik. This was music meant to be appreciated by amateurs making music in their own homes, a demographic that had come to make up an increasing proportion of the German middle class during the Biedermeyer period (1815-1848) in which family life was celebrated and home activities like music-making cherished.

In Schumann’s Five Pieces in Popular Style (1849), his only work for cello and piano, the “popular” style of these pieces is evident in their simple A-B-A formal structure, their strongly profiled melodies, and their frequent use of drone tones in the bass.

The first piece is entitled Vanitas vanitatum, a phrase from the book of Ecclesiastes (“Vanity of vanities, all is vanity”). It is likely meant to depict a drunken soldier like the one featured in Goethe’s well-known poem of the same name. Its heavy peasant swing conveys something of the soldier’s alcoholic swagger, or perhaps even stagger, but offers glimpses of his tipsy charm, as well.

The second piece is like a drowsy lullaby, or perhaps just something cozy to play in a room with plenty of coals on the fire and a hot bowl of punch at the ready. This is warm home life distilled into sound.

An aura of mystery seems to pervade the third piece, which opens with a sad waltz in the cello dogged by furtive interruptions in the piano. More lyrical material occupies the middle section, notable for the high register used in the cello and the double-stop writing in 6ths.

The fourth piece offers one of those bravely optimistic and celebratory anthems that one often finds in Schumann, alternating with more fretful expressive outpourings in its middle section.

The least ‘amateur’ of the set is the fifth piece that features copious scoops of double thirds in the piano part and a restless, roving cello line determined to sing out its line on its own terms.

Ludwig van Beethoven
Cello Sonata No. 3 in A major Op. 69

Beethoven may have made his name in music history for his restless moods and Dionysian fury but there is another side to him that his A major Sonata Op. 69 represents well. This is the Apollonian, classical-era Beethoven, the Beethoven content to live – for the space of four movements at least – in a Mozartean world of balance and equilibrium: between formal sections, between instrumental entries, and between the motivic units used to construct each phrase.

The opening theme of his first movement, for example, presented in the solo cello in the manner of a fugue subject, is symmetrically balanced around its opening note, the home note of A major. This solo entry of the cello and its follow-up phrase in the piano (ending in a short cadenza) is then succeeded by a solo entry in the piano and the same follow-up phrase in the cello (ending in a short cadenza). Moreover, the sonata’s second theme is a mirror image of the first, simply inverting its rising interval to a pair of falling intervals with the same rhythmic imprint. While minor-mode turbulence intervenes from time to time, notably in the operatic outpourings of the development section, the piano and cello remain like best buddies in a road movie, always on the same page, never fighting with each other.

The 2nd movement scherzo sets out to see how much fun can be had with syncopation. At first peeking out and then hiding behind the pillars of each bar’s first beat, the two instruments find themselves dancing cheek-to-cheek (in 6ths) in the Trio’s two contrasting episodes.

The 3rd movement Adagio cantabile has puzzled many performers. Its extraordinary brevity, a mere 18 bars, barely gives Beethoven time to stretch out his lyrical limbs … and then it’s over. Glenn Gould has suggested a reason for this, a reason rooted in Beethoven’s emerging fascination with continuous form:

It’s almost as if he wanted to write on one plane and one plane only, that of an allegro mood from beginning to end … to make things all of a piece.

Nonetheless, Beethoven’s last movement takes off with a merry twinkle in its eye and a bustling accompaniment of steady 8th notes in the piano to keep every toe in the hall tapping in time. The opening theme of this sonata-form movement is derived from the first movement’s opening theme. Simply bursting with good humour and bonhomie, this movement manages to be both cute and coy by turns while constantly radiating a sunniness of disposition that even the mock-worry of its development section cannot efface.

Anton Webern
Drei Kleine Stücke Op. 11

Anton Webern presents us with among the most concentrated aesthetic experiences possible in music. Using the 12-tone technique of his teacher, Arnold Schoenberg, in which complete statements of the 12 chromatic tones are presented as musical ideas, he writes works characterized by an astonishing density of musical thought. This is music of meticulous craftsmanship, music under a magnifying glass, in which seemingly small gestures take on great significance.

Webern’s Three Little Pieces Op. 11 are contained within a space of 9, 13 and 10 bars, respectively, and they take less than two minutes to perform. The outer movements are relatively slow and extremely soft (ranging between pp and ppp) while the second movement is loud and fast.

Catching the essence of music this fleeting requires concentrated listening. Only repeated hearings can really bring its minute details into focus. But one characteristic that might well be perceivable right away is how the piano and cello, like an old married couple, seem to complete each other’s musical thoughts.

When one goes up, the other goes down in response, creating a kind of symmetry in their dialogue.

Frédéric Chopin
Sonata in G minor Op. 65

Chopin, a cello composer? Who knew? And yet the piano’s most famous composer actually wrote three chamber works for cello and piano: an Introduction and Polonaise brillante, Op. 3, a Grand duo concertant on themes from Meyerbeer’s Robert-le-Diable, and the Sonata in G minor for cello and piano, written between 1845 and 1846 for his friend, the Parisian cellist Auguste Franchomme (1808–1884).

In retrospect, however, the baritone range typical of the cello had always been a fertile ground for countermelody in Chopin’s piano music. Indeed some works, like the Prelude in B minor Op. 28 No. 6, or the Étude in C# minor Op. 25 No. 7, sound almost like transcriptions of works originally written for cello and piano. What most distinguishes this late sonata from those earlier “cello-like” works, however, is a new tendency towards increased chromaticism in the melodic line. Chopin’s sense of harmonic momentum is dizzyingly paced, especially in the first and last movements of this sonata.

Although Romantic in spirit, the sonata is written in the four-movement structure of the Classical era, comprising a sonata-form 1st movement, a 2nd movement scherzo, slow 3rd movement and rondo finale. The 1st movement’s opening theme might be described as a songful march, lyrical but inflected with pert dotted rhythms that add a slightly martial air to the melody’s unfolding. The second theme, by contrast, is a serene 10 notes (the first four on the same pitch) that exude a lyrical sense of repose, a repose not long held in this generally turbulent movement. The development is short, expanding on the rapturous potential of the 1st theme, in particular. Serious confrontation and drama occur only in the recapitulation, which draws much more vehemence from its material than the opening had done.

The 2nd movement scherzo is much lighter in texture and midway in mood between Mendelssohnian scamper and Brahmsian heft. Its lyrical trio is a nostalgic waltz to melt the heart of the crustiest old curmudgeon.

Lyricism of the simplest kind also prevails in the short 27-bar Largo third movement, but of a kind more vocal in its inspiration. Its widely spaced, nocturne- like piano accompaniment of eighth notes evokes a sense of calm that makes it the emotional pivot around which the whole sonata revolves.

The rondo finale reprises the martial inflections of the opening movement, but its dotted rhythms are now enlivened with a triplet energy reminiscent of the tarantella. In more lyrical sections the cello part is notable for the type of double- stop writing in 6ths one might expect in a Brahms Hungarian rhapsody.

Donald G. Gíslason 2017

Program Notes: The Danish String Quartet

Posted on October 5, 2016 by Niamh

Johann Sebastian Bach

Well-Tempered Clavier II

Fugue No. 7 in E-flat major BWV 876 (arr. Mozart)

In 1782 Mozart’s patron, Baron Gottfried van Swieten, showed the composer a number of manuscripts of the works of Johann Sebastian Bach and encouraged him to make string arrangements for performance at the Baron’s regular series of Sunday afternoon concerts in his home. The result was a collection of Bach fugues arranged for string trio and for string quartet.

The E-flat fugue from Book II of the Well-Tempered Clavier is a four-voice fugue of remarkable design. Its voices enter in ascending order (bass, tenor, alto, soprano) to build up a four-voice texture firmly grounded in the home key, and almost all subsequent appearances of the theme enter in the same keys as the opening: E flat and B flat.

The harmonic stability that characterizes the formal plan, however, is enlivened by a fugue subject of great vitality, created out of an ear-catching mix of melodic leaps laid out in a pattern of note values accelerating from slow to quick. Combined with the built-in phrase repetition in the theme itself, the result is almost dance-like.

Arranging this fugue for string quartet allows the work’s contrapuntal texture to be presented in higher sonic relief to the listener’s ear, with long notes swelling in the middle in a way impossible on the keyboard, and short notes articulated crisply by means of adroit bowing.

Dmitri Shostakovich

Quartet No. 15 in E-flat minor Op. 144

Dmitri Shostakovich was the ugly duckling of 20th-century composers, a thickly bespectacled, chain-smoking musical intellectual whose scores, while contemporary in their sound palette, often bristled with the contrapuntal intensity of a previous age. No stranger to the larger forms of symphony, concerto, and opera, he focused increasingly at the end of his life on the more intimate genres of the song cycle and the string quartet. Following the diagnosis of a heart condition in 1965, his works became darker in spirit, beset with a tragic undertow no doubt influenced by the experience of his declining health.

His 15th string quartet was his last, composed in 1974, the year before his death. Written in the dark key of E-flat minor, it unfolds as an uninterrupted sequence of six slow movements, all marked Adagio. Beneath the death-inspired melancholy of this work glimmers faintly the memory of living human emotions, expressed in the titles given to each movement.

The first movement Elegy opens with an eerily subdued fugal exposition in the low range of the instruments. Its melodically inert, death rattle of a theme whispers out three notes on the same pitch, then continues to circle listlessly around it in the modal style of medieval chant. A second theme, based on a C major arpeggio, eventually emerges but brings scant cheer, as the entire movement, the longest of the work, never rises above the dynamic level of mp.

Not so the sharply profiled second movement Serenade, which begins with a 12- tone row of snarling—or perhaps shrieking—crescendos, each on a single note played by a single instrument, swelling from ppp to sffff. In the course of this movement these violent gestures play against an absent-minded waltz, to curious effect.

The short Intermezzo features a similarly odd pairing between an exuberant, almost ecstatic cadenza in the first violin and scattered melodic musings in the other instruments. Genuine sustained lyricism arrives for the first time in the Nocturne, as the viola pours out its soul against a delicate tracery of arpeggios in the other instruments. Played with mutes, this movement rarely features more than three instruments playing at a time, giving it a quality of nocturnal intimacy.

There is no mistaking the grave, commemorative tone of the following Funeral March, in which we hear the pure minor chords and dotted rhythms of traditional funeral music projected with surprising aggressiveness in both chordal declarations and solo laments.

The concluding Epilogue sums up the previous emotional terrain with cadenza-like flights of fancy alternating with dull echoes of both the first and second themes from the first movement. Its flurry of trills has been compared to “the sounds of wind whistling through a graveyard”.

Ludwig van Beethoven

Quartet in E-flat major Op. 127

The late quartets of Beethoven are known for raising the bar in terms of formal experiment and range of expression, but the first of these, the Quartet in E flat, Op. 127, is almost shockingly conventional in this regard. Tuneful in the most popular manner, its expressive aspirations rarely exceed those of the common air or folksong, and its four separate movements are laid out in the most traditional of formal patterns: a sonata-form first movement, theme-and-variations second movement, followed by a scherzo and a sonata-form finale.

What this quartet does have in common with many late-period works is the extravagant dimensions of its theme and variations movement—it clocks in at over a quarter of an hour in length, in a league with the variation movements of the late piano sonatas Opp. 109 and 111. Equally remarkable is the sustained lyrical impulse that broadly dominates the first two movements, to the detriment of Beethoven’s trademark penchant for striking contrasts and high-voltage drama, which only join the party in the scherzo.

A hint of the more “muscular” Beethoven is given in the first movement’s opening fanfare, a fanfare that recurs several times throughout the movement. But at each appearance it can’t help melting into song, the operating principle of the movement seeming to be that of leisurely continuous variation rather than dramatic set-up and release. This is evident in the minor-mode second theme, which is minimally contrasting and echoes fragments of the first, while the development, for the most part, prefers to stretch out its melodic lines like toffee instead of fragmenting them like peanut brittle. The question “Why can’t we all just get along?” seems to have found its answer in this movement.

The theme of the second movement’s variations is a lyrical ascent of scale notes extending over more than an octave followed by a series of gracious descents. Eminently vocal in character, this melody was actually split off from the quartet and published separately as a song after Beethoven’s death. The six variations that follow unfold calmly with an admirable simplicity. They maintain the gentle flow and relaxed feel of their founding melody, and rather than dressing it up with ornamental curlicues, they simplify it, as in many of Beethoven’s late variation sets, seeking to reduce it to its core constituents.

The Beethoven of contrast and drama returns in the scherzo. Its theme is a mischievous collection of little gestures comprised of dotted rhythms and purring trills, creeping up the scale in stages, answered imitatively by its mirror opposite coming down in the opposite direction. The opening and closing sections of the movement swing wildly between clever counterpoint and rampaging unisons while the trio alternates between breathless scurrying and rustic swagger.

This rustic quality is much in evidence as well in the final movement Allegro. Its folk-like character is conveyed in a seemingly endless stream of simple, tuneful, and symmetrically phrased melodies (Joseph Kerman calls it a “medley”), imprinted with the oafish good humour of drunken village dancing. Near the end, a heavenly trill in the first violin summons the rustics to heed the angels of their better natures, and the husky rhythms of their revels give way to the smooth flowing lines of human concord as the work ends.

Donald G. Gíslason 2016

Program Notes: Roman Rabinovich

Posted on January 13, 2016 by VRS

Franz Joseph Haydn
Sonata in B-flat Major, Hob. XVI:41

In 1784 Haydn wrote three keyboard sonatas for Princess Marie, the new bride of Prince Nicholas Esterházy, grandson of Haydn’s employer Prince Nicholas I. Each is a two- movement work, without a lyrical slow movement, perhaps reflecting the taste of the young Princess for lighter fare.

The second in the set, the Sonata in B-flat, begins in a spirit of pageantry with an emphasis on sprightly dotted rhythms and frequent coy changes in dynamics, indicating clearly that the work was intended for performance on the fortepiano, which had largely replaced the harpsichord by the 1780s.

The female breast is given ample room to heave beneath its stiff lace bodice with the arrival of a restlessly modulating second subject dark with minor-mode colouring and rippling triplet accompaniment. A rich variety of ornamentation in the form of trills and turns maintains a high level of elegance in the melodic flow throughout.

The second movement Allegro di molto strikes a quasi-learned tone with its freely contrapuntal texture of answering phrases and its lively chatter of small leaps in dialogue with smooth runs and churning broken chords, all within the grasp of the delicate hand of a princess. In this movement as well, a minor-mode shadow falls melodramatically over the proceedings, only to be banished by a cheerful reprise of the opening material, tastefully varied at its return.

Robert Schumann
Kreisleriana Op. 16

Violinist Johannes Kreisler represented, for Robert Schumann, the very essence of the new Romantic spirit in art. This eccentric, hypersensitive character from the fiction of E. T. A. Hoffmann was a cross between Nicolò Paganini and Dr. Who, an enigmatic, emotionally volatile figure committed to plumbing the depths of his creative soul.

Schumann’s tribute to this symbol of creativity in art, his Kreisleriana of 1838, is as wildly inventive and emotionally unstable as the artistic personality it describes. Each of the eight pieces that make up the work comprises contrasting sections that reflect the split in Schumann’s own creative personality, a bipolar duo of mood identities to which he self-consciously gave the names Florestan and Eusebius.

Florestan, Schumann’s passionate, action-oriented side, opens the work Äußerst bewegt (extremely agitated) with a torrential outpouring of emotion that only halts when the introspective daydreamer Eusebius takes over with more tranquil lyrical musings. The pairing is reversed in the following movement, Sehr innig und nicht zu rasch (very intimate and not too fast), which begins thoughtfully but is twice interrupted by sections of a much more rambunctious character.

Schumann’s inventiveness in creating this series of mood-swing pieces is astonishing. Each is a psychologically compelling portrait of a distinct temperamental state, enriched and made whole by embracing its opposite.

Projecting these portraits is no easy task for the pianist as Schumann’s writing, especially in slower sections, often features a choir of four fully active voices with melodies as likely to rise up from the bass, or to emerge out of the middle of the keyboard, as to sing out from on top. Indeed, the smooth part-writing and polyphonic texture of many sections points to another prominent feature of Schumann’s writing: his great admiration for the music of Johann Sebastian Bach.

Schumann’s desire to give a Bachian solidity of structure to his writing is most evident not only in his four-voice harmonization textures, but also in his use of close three-voice stretto in the 5th movement and fugato in the 7th, not to mention the many extended passages based on a single rhythmic pattern in the manner of a Bach prelude.

But most remarkable in this work is the sense of mystery and unease that it radiates as a result of the pervasive use of rhythmic displacement in the bass, where strong notes often fail to coincide with the strong beats of the bar, in imitation of the unregulated movement of tectonic plates of thought and feeling in the mind of the creative artist.

Anton von Webern
Variations Op. 27

The 12-tone system of composition propagated in the early 20th century by Arnold Schoenberg, and employed by his students Alban Berg and Anton von Webern, presents a daunting challenge for audiences accustomed to listening for tunes to hum in the shower and rhythms to inspire a tapping motion in their footwear. The density of intellectual content of this music is far out of proportion with the ability of even seasoned musicians to perceive its organizing principles on a first listening.

And yet, like modernist works of abstract art that pull in the viewer’s attention at a visceral level, 12-tone works such as Webern’s Variations Op. 27 can exercise an unexpected fascination that requires no explanation.

So in listening to this three-movement work, it is merely necessary to be aware of the scale of listening at which the composer wishes to engage his audience, and that scale, in comparison with traditional music in the repertoire, is the minute. This is music for listening with an “aural magnifying glass,” music of pointillist patterns of sound unconnected to scales or keys, the elegance of which lies in the symmetry of its gestures and balance of its tonal patterning.

Ludwig van Beethoven
Sonata in A Major, Op. 101

The works of Beethoven’s late period see him writing with a more relaxed approach to form and a wider sound palette, one that in the case of his piano music reaches out to the extreme ends of the keyboard. This is music of an increasingly personal stamp, wilfully pushing towards new expressive horizons with a confidence that virtually defines this composer’s ‘brand’.

His Sonata in A major Op. 101 presents us with two pairs of contrasting movements. Movements 1 and 3 are lyrical and reflective, with little by way of strong profiling in either tonality or rhythm. They seem to flow onward at the pace of personal thought and feeling. Movements 2 and 4 are punchier, driven by the momentum of a large-scale formal plan, with a decisive rhythmic edge and clear tonal outlines at the heart of which lies a yearning for the rigour of serious imitative counterpoint.

The work opens with a movement of great gentleness of expression, almost a meditation, full of rippling pulses rather than strong beats. Its exposition goes by in a single page, more a succession of dream states than a delineation of contrasting ideas, and its development merely seems to intensify rather than challenge the prevailing mood.

The second movement is a bold and forthright march with sharply chiselled dotted rhythms peppered with points of imitation (of a kind that may have inspired the fifth movement of Schumann’s Kreisleriana) and an even more formally contrapuntal trio.

The slow movement is surprisingly short, more an intermezzo than a formally poised exposition of lyrical thoughts. With an air of improvisation it follows a little melodic turn figure through a series of harmonic adventures culminating in a daydreaming cadenza and a reminiscence of the sonata’s opening bars.

An ear-catching flourish of trills leads us into the finale, a sonata movement brimming with exuberance and good-humoured melodies drawn from country life, including an Austrian mountain yodel and a rollicking contradance. Each is presented from the outset with its own imitative echo, preparing us for the full-on fugue that breaks out in the development section. By his use of the extreme low register Beethoven turns the lowest voice in the fugue into a kind of basso buffo from comic opera, humorously out of place in such a learned context.

Bedřich Smetana
Four Dances from Czech Dances (Book II)

Bedřich Smetana was among the first composers to promote a distinctly Czech style of music in the 19th century during a period of rising nationalist sentiment in his native Czech homeland. His best-known works are his comic opera The Bartered Bride and the set of six symphonic poems based on themes from Bohemian country life entitled Má Vlast (my homeland).

Smetana was a gifted pianist and composed more for the piano than for any other instrument, with dance music playing an important role in his projection of the Czech national style. His second set of Czech Dances dates from 1879 and are intended to be artful examples of the actual music that might accompany Czech folk dancing.

Medved (The Bear) is a heavily textured stomping piece combining duple and triple metres to paint the lumbering gait of the bear, with a much sweeter middle section that imitates the sounds of the Czech bagpipes.

Hulán (The Lancer) is a slow, tender dance evoking the love of a young girl for her soldier boyfriend. Despite the subdued mood, an underlying current of intense yearning provides the performer with the occasion for flamboyant pianistic display.

Slepička (The Hen) is a vivid portrait of the race of barnyard fowl immortalized by Rameau’s La Poule and the animated film Chicken Run. Smetana’s hen is a busy creature indeed, with a daily agenda full of strutting, clucking and feathery flapping, all to a polka rhythm occasionally put humorously off-stride by unpredictable changes in metre.

Skočná (Hop Dance) is an exhilarating stomping dance for couples that sees its participants whirling each other ever more frenetically around in circles with a joyous, almost madcap abandon.

Donald G. Gíslason 2015

Program notes: Maximilian Hornung & Benjamin Engeli

Posted on September 24, 2015 by VRS

Robert Schumann
Fünf Stücke im Volkston, Op. 102

Long before Martha Stewart made middle-class home furnishings a “thing,” the Biedermeier period (1815-1848) ushered in a bourgeois age of cozy home interiors that celebrated domestic family life and gave music a prominent place within it. Biedermeier Europe enjoyed the blessings of peace after the defeat of Napoleon in 1815 much as the Eisenhower era did in North America after WWII. But instead of washers, dryers, and TV sets, the European ‘mod con’ most in demand was the piano, an instrument that afforded middle-class families the luxury of home music-making once reserved for the wealthier classes.

As a consequence, the market for Hausmusik (music for amateur performance by small ensembles in the home) expanded considerably. This market had its peaks of reﬁnement in the works of Schubert and Mendelssohn, and its valleys of vulgarity in the variations and potpourris of lesser composers, as annoyingly popular in Biedermeier drawing rooms as YouTube cat videos on computer screens today.

Robert Schumann, after spending the 1830s composing solo piano music exclusively, made up for lost time at the end of the 1840s with a bumper crop of Hausmusik including his Five Pieces in Popular Style (1849), his only work for cello and piano. The simple “popular style” (Volkston) of these pieces is evident in their simple three-part (A-B-A) form, their strongly proﬁled melodies with little emphasis on development, and in their prominent use of drone tones in the bass.

Schumann was not engaged in a form of musical “slumming” by evoking the musical idiom of the rural countryside. This was not Dolly Parton arranged for chamber ensemble. For him, the folk music of a nation was emblematic of its very soul, providing a bulwark against the cheapening of musical taste that “fashionable” music threatened to enact on an unschooled public. Hence, the codas of these pieces reveal ﬂashes of sophistication that see them end more artfully than they began.

The ﬁrst is entitled Vanitas vanitatum (from Ecclesiastes: “Vanity of vanities, all is vanity”) and is likely a humorous depiction of the drunken one-legged soldier in Goethe’s well-known poem of the same name. It has a heavy peasant swing to it but, like many an engaging tippler, is not without occasional touches of sly whimsy.

The drowsy second piece may make you yawn. Its long-held bass drone foreshadows Brahms’ famous lullaby. The third begins with an aura of mystery, its ‘sombre waltz’ opening yielding to more lyrical effusions remarkable for the high register of the cello in which they are set, and for the use of double stops in 6ths.

The fourth piece alternates between a nostril-expanding march and an equally breast-swelling lyricism while the ﬁfth, the least ‘amateur’ and most developed of the set, pairs a piano part full of scampering double thirds with a wide-ranging and restless cello line of steely determination and wilful exuberance.

Ludwig van Beethoven
Sonata for Cello and Piano in A major, Op. 69

The furrowed brow of care is nowhere to be found in this remarkably sunny and serenely conﬁdent sonata from Beethoven’s middle period. Composed between 1806 and 1808, it overlaps the composer’s work on the Fifth and Sixth Symphonies yet evinces none of the disruptive tumult of the celebrated C minor Symphony nor the wondrous, walk-in-the-woods pictorialism of the Pastorale. It seems perfectly content to live in its own world, a world characterized by an almost Mozartean sense of balance and equilibrium: between formal sections, between instrumental entries, and between the motivic units used to construct each phrase.

Consider the opening. A rhythmically tranquil theme, beginning with a rising 5th, is presented by the solo cello in the manner of a fugue subject, its balanced mix of open and stepwise intervals symmetrically arranged on either side of the home-key note of A. This gesture then ﬁnds the perfect continuation of its thoughts in the luxuriantly relaxed and songful reply of the piano that drifts as high in its register as the cello ended low.

The second theme of the movement is similarly tongue-in-groove with the aforementioned, being a mirror image of the opening theme, inverting its rising interval to a pair of falling intervals with the same rhythmic imprint. And throughout it all, cello and piano bask in a honeymoon of mutual admiration and support, even when touring through quite a bit of minor-mode drama and Italian-style pathos in the development section.

The second movement scherzo makes up for the ﬁrst movement’s overall stability of pulse with a serving of jumpy syncopations and offbeat accents, enlivened by a large helping of contrapuntal side-chatter and imitative cross-talk. The two appearances of the movement’s much-less-skittish trio provide a measure of relief from the twitching, but in the end, even they get caught up in the general mêlée.

The third movement Adagio cantabile holds more surprises in store, however. Like a marathon runner who smiles at the press at the starting gun and then, after rounding the ﬁrst turn, takes a cab to the ﬁnish line, this movement calls it quits after a mere 18 bars of lyrical reﬂection, proceeding directly to the last movement.

Cellist Leonard Rose thought this regrettable, but Glenn Gould saw it as part of an emerging pattern in Beethoven’s later works: a tendency to break down the walls between movements, to write sonatas as a single continuous thought:

It’s almost as if he wanted to write on one plane and one plane only, that of an allegro mood from beginning to end… to make things all of a piece.

Whatever the reason, the Allegro vivace last movement, in sonata form, is as toe- tapping a ﬁnale as could be imagined, its chuckling good humour kept bubbling by an almost constant 8th-note patter in the piano. And because this sonata lives in a thematic hall of mirrors, its main theme is an inversion of the piano’s delicious opening phrase in the ﬁrst movement.

Leoš Janáček
Pohádka for Cello and Piano

Leoš Janáček is a one-off in music history. His is a voice of visionary ecstatic utterances, of mysterious murmurings evoking the folk music of his Moravian heritage, all tinged with the blurry soft hum of its favourite instrument, the cimbalom. As American conductor Kenneth Woods puts it:

Janáček comes from nowhere and leads to no one. There is simply no music before or after Janáček that sounds like his. His music is inﬁnitely easy to recognize and completely impossible to replicate.

Janáček was fascinated by the study of speech rhythms and his music, while often misty and atmospheric, is strongly imprinted with the rhythm of the human voice. Utterly indifferent to the compositional conventions of his time, he creates his textures out of short bursts of melody that shimmer with sudden changes of modal colouring. These build to powerful emotional climaxes by the repetition of ostinato fragments that rarely seem to start on the strong beats of the bar.

Janáček’s Fairy Tale (Pohádka) for cello and piano dates from 1910, and after numerous revisions, reached its ﬁnal form in 1923. Like much of his instrumental music, this three-movement work is programmatic, loosely based on scenes from The Tale of Tsar Berendyey by the Russian poet Vasily Zhukovsky (1783-1852).

While the story is long and convoluted, the gist is that the handsome young Tsarevitch, Prince Ivan, has had his soul promised to the King of the Underworld, Kashchei, but on mature consideration decides that he would much rather run away with the grumpy King’s fetching young daughter, Maria, a decision which leads to an adventure-ﬁlled chase over hill and dale until the two lovers ﬁnally reach safety and live happily ever after.

Just how Janáček’s score relates to the events of the tale is not really clear, but many interpreters see the cello in the role of the young prince, with his signature dotted- rhythm motif announced at the outset, and the piano as Maria. Steven Isserlis offers a very suggestive version of how the music illustrates the story, as follows.

The ﬁrst movement, he says, opens with the dreamy setting of a magical lake where Ivan and Maria ﬁrst meet. Enraptured by each other’s company, they fall into a love duet, but then big bad Kashchei arrives and they have to escape to the pounding of horses’ hooves.

The second movement is full of magic. In a nearby palace Ivan gets a spell put on him so he will fall in love with someone else and in a ﬁt of pique Maria turns into a blue ﬂower, prompting an achingly lyrical outpouring in the middle section. But a magician who does house calls ﬁnally releases them both and they rejoice in their good fortune in each other’s arms throughout the ﬁnal movement.

Richard Strauss
Sonata for Cello and Piano in F major Op. 6

While some people’s children are perfectly content to play in the mud for as long as the sun shines each day, taking only small breaks to tip over a vase or torture the household cat, others—the young Richard Strauss comes instantly to mind—prefer to while away their infant hours composing German lieder or small character pieces for piano, commensurate with their limited handspan on the keyboard.

To say that the composer of Til Eulenspiegel and Der Rosenkavalier was a prodigy is to state the obvious. Reportedly able to read musical scores before he could decipher the alphabet, Richard Strauss began his ‘mature’ period as a composer at an age when most of us were preparing for the high school prom. His Sonata for Cello and Piano Op. 6 was begun when he was only 17 and completed two years later in 1883.

It is a radiantly conﬁdent work marked by boundless exuberance, passionate lyrical intensity, and no mean degree of compositional skill, its phrases driven forward with an irresistible harmonic momentum, parcelled out with consummate formal mastery. The cellist encounters a score extending over the entire range of his instrument while any pianist with a hand smaller than a catcher’s mitt will need to arpeggiate many of the work’s Brahmsian left-hand chords.

The ﬁrst movement Allegro con brio opens the work with a heroic introduction leading to a ﬁrst theme of rhapsodic sweep beginning high on the ﬁngerboard over an undulating piano accompaniment, and this is followed by a sombre second theme, just as passionate, rising up from the lowest string. The development section percolates along, bubbling with imitative motivic play, until unable to hold off the urge to burst into a full-on fugato. Call this boy a show-off if you will, but he sure can write imitative counterpoint.

The second movement Andante ma non troppo is a richly hued but dark collection of ruminative melodies over which the lyrical spirit of Mendelssohn hovers benevolently, as it does over the Allegro vivo ﬁnale, with its mixture of coy drawing-room coquettishness and scherzo scamper.