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Read reviews, listen to the music, and purchase the CD BEETHOVEN: Violin Sonatas Op. 24 and Op. 47, 'Kreutzer'
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BEETHOVEN: Violin Sonatas Op. 24 and Op. 47, 'Kreutzer'
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(CD)
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Ludwig van Beethoven (1770 - 1827)
Sonata in F major Op. 24 (Spring)
Sonata in A major Op. 47 (Kreutzer)
Sonata in A major Op. 47 (Kreutzer)
Ludwig van Beethoven was born in Bonn in December, 1770, the son of
Johann van Beethoven, a singer in the service of the Archbishop of Cologne,
and, more important, the grandson of Ludwig van Beethoven, Kapellmeister to the
same patron, who died in 1773, but whose distinction lived on in the family,
the possible cause of Johann van Beethoven's inadequacy both professionally and
as a parent. In 1789, his mother now dead, young Ludwig van Beethoven took over
responsibility for the family and his two younger brothers.
At home Beethoven had received erratic practical training in music, but
was able to follow a more consistent course of study from 1781 with the court
organist Christian Gottlob Neefe, whose unpaid deputy he became. In 1784 he
entered the paid service of the Archbishop as deputy court organist and playing
the cembalo or the viola in the court orchestra, as occasion demanded. In 1788
he was sent to Vienna, where he hoped to study with Mozart, but was recalled to
Bonn by news of his mother's final illness, in 1792 he went to Vienna once
more, this time to sti1dy with Haydn. He remained there for the rest of his
life.
Beethoven established himself in Vienna at first as a virtuoso
keyboard-player, his virtuosity including improvisation at the keyboard and
composition. In this last he was helped by lessons from Albrechtsberger in
counterpoint and from the Court Composer Salieri in vocal and dramatic setting.
His lessons from Haydn proved less satisfactory. Armed with suitable introductions, he was able to make influential friends among the aristocracy and it was with their support that he continued his career in Vienna, even when increasing deafness made performance at first difficult and eventually impossible.
His lessons from Haydn proved less satisfactory. Armed with suitable introductions, he was able to make influential friends among the aristocracy and it was with their support that he continued his career in Vienna, even when increasing deafness made performance at first difficult and eventually impossible.
It is a tribute to the discernment of Beethoven's patrons that they
perceived his genius, in spite of his uncouthness and increasing eccentricities
of character, in the face of which they exercised considerable restraint and
generosity. In Vienna he lived through turbulent times, through the years of
Napoleonic conquests and into the repressive age of Metternich. He died in
March, 1827, his death the occasion for public mourning in Vienna at the
passing of a long familiar figure whose like the city was not to see again.
The works that Beethoven w rote for violin and keyboard cover a period
from about 1792 up to 1819, the period of the Hammerklavier Sonata, starting
with a set of variations on an operatic aria from Mozart and ending with a set
of variations on national themes. The most significant part of this repertoire
must be the ten sonatas which, although uneven in quality, represent a major
contribution to the literature of the genre. In them Beethoven shows his
ability to provide music that demands a partnership between the two players, no
more piano sonatas with optional violin accompaniment, whatever the title-page
of earlier works may have suggested. As in the maturer work of Mozart, the
violin is treated as an essential participant, a division of labor that has
since been generally established.
Beethoven completed his F major
Violin Sonata, Opus 24, in 1801 and dedicated it, with its immediate
predecessor, to Count Moritz von Fries. The nick-name Spring seems to have
arisen from the nature of the opening theme of the first movement, a melody
that some claim to have been derived from the pianist-composer Clementi. There
is a finely wrought and expressive slow movement, a capricious Scherzo and a
final Rondo in which the principal theme re-appears in a number of rhythmic
guises.
The so-called Kreutzer Sonata
was originally designed by Beethoven for the mulatto violinist George Augustus Polgreen Bridgetower, son of the black page of Prince Esterhazy, Frederich de August, described by a visitor to the Palace of Esterhaza, as English, and of a European mother. Possibly a pupil of Haydn, the young Bridgetower had made a name for himself in Paris and in London, playing solos between the parts of performances of Handel's Messiah
and taking part in the Haydn concerts organised by Salomon in London in the 1790's.
was originally designed by Beethoven for the mulatto violinist George Augustus Polgreen Bridgetower, son of the black page of Prince Esterhazy, Frederich de August, described by a visitor to the Palace of Esterhaza, as English, and of a European mother. Possibly a pupil of Haydn, the young Bridgetower had made a name for himself in Paris and in London, playing solos between the parts of performances of Handel's Messiah
and taking part in the Haydn concerts organised by Salomon in London in the 1790's.
In 1802 Bridgetower visited his mother in Dresden, where his brother
was employed as a cellist, and in Vienna gave the first performance of the
present sonata, hastily finished for him by Beethoven, who had no time to have
the violin part decently copied and on that occasion left much of the piano
part unwritten. The original manuscript carries a jocular dedication - Sonata
mulattica composta per il Mulatto Brischdauer/gran Pazzo e'compositore
mulattico (Mulatto Sonata composed for the Mulatto Bridgetower, great fool and
mulatto composer). The final movement had been intended to close the A major Sonata Opus 30, No.1, dedicated to
the Tsar, and consequently existing in a fair copy before Bridgetower's Vienna
concert.
The later name of the sonata comes from its revision and dedication to
Rodolphe Kreutzer, pupil of the Mannheim musician Anton Stamitz and first
professor of the violin at the newly established Conservatoire in Paris.
Beethoven had met Kreutzer in Vienna in 1798, when he had visited the imperial capital in the entourage of Napoleon's ambassador, Count Bernadotte. The new dedication was made after a quarrel with Bridgetower and without the knowledge of Kreutzer, who is not known ever to have performed the work in public. The sonata is written, as Beethoven pointed out, almost like a concerto, a characteristic evident in the first movement. The second movement is a theme followed by four variations and the sonata ends with a brilliant finale.
Beethoven had met Kreutzer in Vienna in 1798, when he had visited the imperial capital in the entourage of Napoleon's ambassador, Count Bernadotte. The new dedication was made after a quarrel with Bridgetower and without the knowledge of Kreutzer, who is not known ever to have performed the work in public. The sonata is written, as Beethoven pointed out, almost like a concerto, a characteristic evident in the first movement. The second movement is a theme followed by four variations and the sonata ends with a brilliant finale.
Takako Nishizaki
Takako Nishizaki is one of Japan's finest violinists. After studying with her father, Shinji Nishizaki, she became the first student of Shinichi Suzuki, the creator of the famous Suzuki Method of teaching children to play the violin. Subsequently she went to Japan's famous Toho School of Music, and to the Juilliard School in the United States, where she studied with Joseph Fuchs.
Takako Nishizaki is one of Japan's finest violinists. After studying with her father, Shinji Nishizaki, she became the first student of Shinichi Suzuki, the creator of the famous Suzuki Method of teaching children to play the violin. Subsequently she went to Japan's famous Toho School of Music, and to the Juilliard School in the United States, where she studied with Joseph Fuchs.
Takako Nishizaki won Second Prize in the 1964 Leventritt International
Competition (First Prize went to Itzhak Periman), First Prize in the 1967
Juilliard Concerto Competition (with Japan's Nobuko Imai, the well-known
viola-player), and several awards in lesser competitions. She was only the second
student at Juilliard, after Michael Rabin, to win her school's coveted Fritz
Kreisler Scholarship, established by the great violinist himself.
Takako Nishizaki is one of the most frequently recorded violinists in
the world today. She has recorded ten volumes of her complete Fritz Kreisler
Edition, many contemporary Chinese violin concertos, among them the Concerto by
Du Ming-xin, dedicated to her, and a growing number of rare, previously
unrecorded violin concertos, among them concertos by Spohr, Beriot, Cui,
Respighi, Rubinstein and Joachim. For Naxos she has recorded Vivaldi's Four Seasons, Mozart's Violin Concertos Nos. 3 and 5, Sonatas by Mozart and the Mendelssohn,
Tchaikovsky, Beethoven, Bruch and Brahms concertos.
Jeno Jando
Jeno Jando was born at Pecs, in south Hungary , in 1952. He started to learn the piano when he was seven and later studied at the Ferenc Liszt Academy of Music under Katalin Nemes and pal Kadosa, becoming assistant to the latter on his graduation in 1974. Jando has won a number of piano competitions in Hungary and abroad, including first prize in the 1973 Hungarian Piano Concours and a first prize in the chamber music category at the Sydney International Piano Competition in 1977. In addition to his many appearances in Hungary, he has played widely abroad in Eastern and Western Europe, in Canada and in Japan.
Jeno Jando was born at Pecs, in south Hungary , in 1952. He started to learn the piano when he was seven and later studied at the Ferenc Liszt Academy of Music under Katalin Nemes and pal Kadosa, becoming assistant to the latter on his graduation in 1974. Jando has won a number of piano competitions in Hungary and abroad, including first prize in the 1973 Hungarian Piano Concours and a first prize in the chamber music category at the Sydney International Piano Competition in 1977. In addition to his many appearances in Hungary, he has played widely abroad in Eastern and Western Europe, in Canada and in Japan.
He is currently engaged in a project to record all Mozart's piano
concertos for Naxos. Other recordings for the Naxos label include the concertos
of Grieg and Schumann as well as Rachmaninov's Second
Concerto and Paganini Rhapsody
and Beethoven's complete piano sonatas.
and Beethoven's complete piano sonatas.
Disc 1
- I. Allegro - 09:36
- II. Adagio molto espressivo - 05:46
- III. Scherzo: Allegro ma non troppo - 01:09
- IV. Rondo: Allegro ma non troppo - 06:42
- I. Adagio sostenuto - Presto - 11:42
- II. Andante con variazioni - 15:06
- III. Finale - 06:27
Violin Sonata No. 5, F major, Op. 24 (more info)
Composed by:
Ludwig van Beethoven
Jeno Jando,
Takako Nishizaki, violin
Recording date: 21-27 April 1989
Produced by: Simon, Jenõ
Jeno Jando,
Takako Nishizaki, violin
Recording date: 21-27 April 1989
Produced by: Simon, Jenõ
Violin Sonata No. 9, A major, Op. 47 (more info)
Composed by:
Ludwig van Beethoven
Jeno Jando,
Takako Nishizaki, violin
Recording date: 21-27 April 1989
Produced by: Simon, Jenõ
Jeno Jando,
Takako Nishizaki, violin
Recording date: 21-27 April 1989
Produced by: Simon, Jenõ
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Composer(s)/ Author(s):
Beethoven, Ludwig van
Artist(s):
Jando, Jeno; Nishizaki, Takako
Label: Naxos Classics
UPC: 730099528320
Item Number: 8550283
Release Date: Jan 1, 2000
Beethoven, Ludwig van
Artist(s):
Jando, Jeno; Nishizaki, Takako
Label: Naxos Classics
UPC: 730099528320
Item Number: 8550283
Release Date: Jan 1, 2000
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