Beethoven – Complete Works for Solo Piano Vol.14
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Label: BIS
Cat No: BIS1942
Format: Hybrid SACD
Number of Discs: 1
Genre: Instrumental
Release Date: 4th January 2016
Contents
Works
Allemande in A major, WoO81Anglaise in D major, WoO212
Fugue in C major, Hess64
Minuet in E flat major, WoO82
Minuet in F major, WoO217
Prelude in F minor, WoO55
Preludes (2) through all 12 major keys, op.39
Variations (5) on 'Rule Britannia', WoO79
Variations (6) in F major, op.34
Variations (6) on 'Die Ruinen von Athen', op.76
Variations (7) on 'God Save the King', WoO78
Variations (32) on an original theme, WoO80
Waltz in D major, WoO85
Waltz in E flat major, WoO84
Artists
Ronald Brautigam (fortepiano)Works
Allemande in A major, WoO81Anglaise in D major, WoO212
Fugue in C major, Hess64
Minuet in E flat major, WoO82
Minuet in F major, WoO217
Prelude in F minor, WoO55
Preludes (2) through all 12 major keys, op.39
Variations (5) on 'Rule Britannia', WoO79
Variations (6) in F major, op.34
Variations (6) on 'Die Ruinen von Athen', op.76
Variations (7) on 'God Save the King', WoO78
Variations (32) on an original theme, WoO80
Waltz in D major, WoO85
Waltz in E flat major, WoO84
Artists
Ronald Brautigam (fortepiano)About
Ludwig van Beethoven’s first printed work was a set of variations – published in 1783 when he was only twelve years old – and his final keyboard composition was the massive set of thirty-three variations on a theme by Anton Diabelli. His twenty-one sets of piano variations thus trace a line of development in his production, parallel to those formed by the 32 piano sonatas or the 16 string quartets.
On this the 14th volume in his acclaimed traversal of Beethoven's keyboard music, Ronald Brautigam performs five sets, composed between 1802 and 1809. In three of these Beethoven uses themes of his own, including the Ruins of Athens Variations, Op.76. The two remaining sets both use English themes - Beethoven’s choice of God save the King and Rule Britannia may well reflect his often expressed respect for that country – as well as his interest in the English market for sheet music.
As the final part of the programme, Brautigam includes a selection of smaller pieces, most of them of an earlier date than the preceding variations. Some of these are probably student pieces, in particular the Preludes Op.39 and WoO55 and the Fugue in C major, fruits of the counterpoint exercises Beethoven was assigned by his first teacher, Christian Gottlob Neefe, and by Johann Albrechtsberger.
Six dances close a disc that offers many opportunities to glimpse another Beethoven than the composer we all believe we know.
Sound/Video
Paused
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1Variations In F Major, Op. 34 - Theme: Adagio
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2Variations In F Major, Op. 34 - Variation 1
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3Variations In F Major, Op. 34 - Variation 2: Allegro Ma Non Troppo
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4Variations In F Major, Op. 34 - Variation 3: Allegretto
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5Variations In F Major, Op. 34 - Variation 4: Tempo Di Menuetto
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6Variations In F Major, Op. 34 - Variation 5: Marcia: Allegretto
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7Variations In F Major, Op. 34 - Variation 6: Allegretto, Coda: Adagio Molto
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8Variations On 'God Save The King', WoO 78 - Theme
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9Variations On 'God Save The King', WoO 78 - Variation 1
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10Variations On 'God Save The King', WoO 78 - Variation 2
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11Variations On 'God Save The King', WoO 78 - Variation 3
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12Variations On 'God Save The King', WoO 78 - Variation 4
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13Variations On 'God Save The King', WoO 78 - Variation 5: Con Espressione
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14Variations On 'God Save The King', WoO 78 - Variation 6: Allegro, Alla Marcia
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15Variations On 'God Save The King', WoO 78 - Variation 7: (Allegro), Adagio, Allegro
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16Variations On 'Rule Britannia', WoO 79 - Thema: Tempo Moderato
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17Variations On 'Rule Britannia', WoO 79 - Variation 1
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18Variations On 'Rule Britannia', WoO 79 - Variation 2
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19Variations On 'Rule Britannia', WoO 79 - Variation 3
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20Variations On 'Rule Britannia', WoO 79 - Variation 4
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21Variations On 'Rule Britannia', WoO 79 - Variation 5
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22Variations In C Minor, WoO 80
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23Variations In D Major, Op. 76 - Theme: Allegro Risoluto
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24Variations In D Major, Op. 76 - Variation 1
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25Variations In D Major, Op. 76 - Variation 2
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26Variations In D Major, Op. 76 - Variation 3
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27Variations In D Major, Op. 76 - Variation 4
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28Variations In D Major, Op. 76 - Variation 5
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29Variations In D Major, Op. 76 - Variation 6
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30Preludes, Op. 39 - Prelude No. 1
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31Preludes, Op. 39 - Prelude No. 2
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32Fugue In C Major, WoO 215, Hess 64
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33Prelude In F Minor, WoO 55
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34Menuett In F Major, WoO 217
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35Allemande In A Major, WoO 81
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36Anglaise In D Major, WoO 212, Hess 61
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37Menuett In E-Flat Major, WoO 82
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38Waltz In E-Flat Major, WoO 84
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39Waltz In D Major, WoO 85
Europadisc Review
Earliest are the Opus 34 Variations of 1802, which were a conscious attempt to break away from the decorative traditions of the past and attempt something more structurally radical. It's debatable to what extent they succeed: Beethoven seems to have worked out the tonal and metric structures in advance, so that the dynamic possibilities of the theme itself – which he would later find so crucial – are largely ignored. Nevertheless, Brautigam's characterful playing, and the reflectiveness of the Adagio coda, ensure that this is far from a damp squib.
With the variations on 'God Save the King' and 'Rule Britannia' from 1803 we are on more substantial ground. In the former, the registral play of the fourth variation really catches fire in this account, while in the latter the steady build-up of tension – with the theme reduced to bare essentials – is really thrilling, and enormously enhanced by the nimble sound of the instrument: a 2007 Paul McNulty fortepiano after an 1819 Conrad Graf model.
The 32 Variations on an original theme in C minor, of 1806, may have been the object of Beethoven's scorn in later life, but their chaconne-like theme was an obvious source of inspiration for Schubert's late C minor Piano Sonata, D958. To judge by the dazzling pianism they elicit here, Brautigam doesn't share the older Beethoven's rather dim view of this music!
The march-like theme of the D major Variations, Op.76 (1809), later served as the Turkish March in Beethoven's incidental music to Kotzebue's play, The Ruins of Athens. This is Beethoven in high spirits, and Brautigam captures the mood perfectly.
Alongside these assorted variation sets is a selection of shorter works ranging in date from Beethoven's early years as a student in Bonn to two late waltzes. Most of these are trifles, but they offer a fascinating insight into Beethoven's musical background and development, and Brautigam's performances are exemplary.
Anyone already familiar with Brautigam's earlier performances will know what to expect: these are agile, well considered and thoroughly idiomatic performances, technically faultless but full of character, and eminently recommendable. Recorded sound and documentation are excellent.
Reviews
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