94925 beethoven bl2 v2 by Klassiek.nl

94925 Beethoven_BL2 v2_. 12/11/2014 13:08 Page 2

Ludwig van Beethoven 1770–1827 Folksong Arrangements Compact Disc 1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 2

25 Irish Songs WoO152 No.1 The Return to Ulster No.2 Sweet power of song No.3 Once more I hail thee No.4 The morning air plays on my face No.5 The Massacre of Glenco No.6 What shall I do to shew how much I love her? No.7 His boat comes on the sunny tide No.8 Come draw we round a cheerful ring No.9 The Soldier’s Dream No.10 The Deserter No.11 Thou emblem of faith No.12 English Bulls No.13 Musing on the roaring ocean No.14 Dermot and Shelah No.15 Let brain-spinning swains No.16 Hide not thy anguish No.17 In vain to this desert, due No.18 They bid me slight my Dermot dear No.19 Wife, Children and Friends No.20 Farewell bliss and farewell Nancy No.21 Morning a cruel turmoiler is No.22 From Garyone, my happy home No.23 A wand’ring gypsy, Sirs, am I No.24 The Traugh Welcome No.25 Oh harp of Erin

78’24

5’35 1’38 3’09 2’32 1’58 1’46 2’05 0’53 5’11 1’08 1’30 2’31 1’00 2’22 1’03 2’24 1’40 2’21 1’41 1’18 1’09 3’32 0’51 0’59 4’18

26 27 28 29 30 31 32 33 34 35 36

20 Irish Songs WoO153 No.1 When eve’s last rays No.2 No riches from his scanty store No.3 The British Light Dragoons No.4 Since greybeards inform us No.5 I dream’d I lay where flow’rs were springing No.6 Sad and luckless was the season No.7 O soothe me, my lyre No.8 Norah of Balamagairy No.9 The kiss, dear maid, thy lip has left No.10 Oh! thou hapless soldier No.11 When far from the home

1’36 2’59 2’50 1’08 1’27 4’20 1’07 1’32 2’49 1’29 2’19

(1, 3, 4, 7, 9, 12, 14, 16, 18, 22, 25, 27, 28, 31, 34, 36) Dorothee Wohlgemuth soprano Christine Wehler alto Georg Poplutz tenor Jens Hamann baritone Martin Haunhorst violin Bernhard Schwarz cello Rainer Maria Klaas piano (2, 5, 6, 8, 10, 11, 13, 15, 17, 19, 20, 21, 23, 24, 26, 29, 30, 32, 33, 35) Renate Kramer soprano Ingeborg Springer mezzo-soprano Eberhard Büchner, Armin Ude tenor Siegfried Lorenz baritone Berliner Solistenchor Brahms Trio: Jörg Hoffmann violin Gotthard Popp cello Volkmar Lehmann piano 3

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Compact Disc 2

60’21

1 2 3 4 5 6 7 8 9

20 Irish Songs WoO153 No.12 I’ll praise the Saints No.13 ’Tis sunshine at last No.14 Paddy O’Rafferty No.15 ’Tis but in vain No.16 O might I but my Patrick love No.17 Come, Darby dear No.18 No more, my Mary No.19 Judy, lovely, matchless creature No.20 Thy ship must sail

3’46 2’05 2’41 1’15 3’01 1’12 1’58 2’46 1’31

10 11 12 13 14 15 16 17 18 19 20 21

12 Irish Songs WoO154 No.1 The Elfin Fairies No.2 O harp of Erin No.3 The Farewell Song No.4 The pulse of an Irishman No.5 Oh! who, my dear Dermot No.6 Put round the bright wine No.7 From Garyone, my happy home No.8 Save me from the grave and wise No.9 Oh! would I were but that sweet linnet No.10 The hero may perish No.11 The Soldier in a Foreign Land No.12 He promised me at parting

1’52 3’53 3’34 2’23 3’45 2’24 4’05 2’07 5’41 1’15 6’12 2’46

(1–3, 5, 7, 8) Dorothee Wohlgemuth soprano Christine Wehler alto Georg Poplutz tenor Jens Hamann baritone Martin Haunhorst violin Bernhard Schwarz cello Rainer Maria Klaas piano (4, 6, 9) Renate Kramer soprano Ingeborg Springer mezzo-soprano Eberhard Büchner, Armin Ude tenor Siegfried Lorenz baritone Berliner Solistenchor Brahms Trio: Jörg Hoffmann violin Gotthard Popp cello Volkmar Lehmann piano (10–21) Barbara Emilia Schedel soprano Kerstin Wagner alto Daniel Schreiber tenor Daniel Raschinsky baritone Sachiko Kobayashi violin Chihiro Saito cello Michael Wagner piano

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Compact Disc 3

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

26 Welsh Songs WoO155 No.1 Sion, the son of Evan No.2 The Monks of Bangor’s March No.3 The Cottage Maid No.4 Love without Hope No.5 A golden robe my love shall wear No.6 The fair Maid of Mona No.7 Oh let the night my blushes hide No.8 Farewell, thou noisy town No.9 To the Aeolian Harp No.10 Ned Pugh’s Farewell No.11 Merch Megan No.12 Waken lords and ladies gay No.13 Helpless Woman No.14 The Dream No.15 When mortals all to rest retire No.16 The Damsels of Cardigan No.17 The Dairy House No.18 Sweet Richard No.19 The Vale of Clwyd No.20 To the Blackbird No.21 Cupid’s Kindness No.22 Constancy No.23 The Old Strain No.24 Three Hundred Pounds No.25 The Parting Kiss No.26 Good Night

73’57

3’52 2’31 2’53 2’16 2’59 3’25 2’23 1’30 4’29 2’27 2’47 2’41 1’45 4’19 4’08 2’57 2’12 2’05 4’25 3’34 1’58 1’25 3’26 2’37 3’07 1’33

Antonia Bourvé soprano Rebekka Stöhr mezzo-soprano David Mulvenna Hamilton tenor Haakon Schaub baritone Manfred Bittner bass-baritone Zsuzsa Zsizsmann violin Cornelius Boensch cello Michael Clark piano

Compact Disc 4

65’05

1 2 3 4 5 6 7 8 9 10 11 12

12 Scottish Songs WoO156 No.1 The Banner of Buccleuch No.2 Duncan Gray No.3 Up! Quit thy bower No.4 Ye shepherds of this pleasant vale No.5 Cease your funning No.6 Highland Harry No.7 Polly Stewart No.8 Womankind No.9 Lochnagar No.10 Glencoe No.11 Auld lang syne No.12 The Quaker’s Wife

2’45 3’02 2’29 2’41 1’04 1’56 1’49 1’22 3’47 3’06 2’08 2’04

13 14 15

12 Songs of Various Nationality WoO157 No.1 God Save the King (English) No.2 The Soldier (Irish) No.3 O Charlie is my darling (Scottish)

4’02 2’44 1’52

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16 17 18 19 20 21 22 23 24

No.4 O sanctissima (Sicilian) No.5 The Miller of the Dee (English) No.6 A health to the brave (Irish) No.7 Since all thy vows, false maid (Irish) No.8 By the side of the Shannon (Irish) No.9 Highlander’s Lament (Scottish) No.10 Sir Johnie Cope (?Scottish) No.11 The Wandering Minstrel (Irish) No.12 La gondoletta (Venetian)

2’26 2’37 2’06 4’03 2’11 4’43 3’13 3’54 2’48

Compact Disc 5

1 2 3 4 5 6 7 8

23 Songs of Various Nationality WoO158a No.1 Ridder Stig tjener i Congens Gaard (Danish) No.2 Horch auf, mein Liebchen (German) No.3 Wegen meiner bleib d’Fräula (German) No.4 Wann i in der Früh aufsteh (Tyrolean) No.5 I bin a Tyroler Bua (Tyrolean) No.6 A Madel, ja a Madel (Tyrolean) No.7 Wer solche Buema afipackt (Tyrolean) No.8 Ih mag di nit (Tyrolean)

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

No.9 Oj upiłem sie w karczmie (Polish) No.10 Poszła baba po popiół (Polish) No.11 Yo no quiero embarcarme (?Portuguese) No.12 Seus lindos olhos (Portuguese) No.13 Im Walde sind viele Mücklein geboren (Russian) No.14 Ach Bächlein, Bächlein, kühle Wasser (Russian) No.15 Unsere Mädchen gingen in den Wald (Russian) No.16 Schöne Minka, ich muss schneiden ‘Air cosaque’ (Ukrainian) No.17 Lilla Carl, sov sött i frid (Swedish) No.18 An ä Bergli bin i gesässe (Swiss) No.19 Una paloma blanca ‘Bolero a solo’ (Spanish) No.20 Como la mariposa ‘Bolero a due’ (Spanish) No.21 La tiranna se embarca (Spanish) No.22 Édes kinos emlékezet (Hungarian) No.23 Da brava, Catina (Venetian)

0’47 0’44 1’28 2’17 0’56 1’32 0’48 3’05 1’52 1’53 2’35 1’04 3’32 0’58 1’04

‘Non, non, Collette n’est point trompeuse’ WoO158c No.2 from Le Devin du village

1’40

Air Français Hess168

1’43

26 27 28 29 30

From 7 British Songs WoO158b No.1 Adieu my lov’d harp (Irish) No.3 Oh was not I a weary wight (Scottish) No.4 Red gleams the sun (Scottish) No.5 Erin! oh, Erin! (Irish/Scottish) No.6 O Mary, ye’s be clad in silk (Scottish)

2’38 5’28 1’44 3’23 2’39

60’55

0’40 1’53 2’25 1’15 3’49 2’49 0’54 3’07

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(1, 4, 7–10, 12, 13–15, 17, 18, 20, 22) Renate Kramer soprano Ingeborg Springer mezzo-soprano Eberhard Büchner tenor Günther Leib baritone Eva Ander piano Reinhard Ulbricht violin Joachim Bischof cello Kurt Mahn oboe Werner Pauli guitar Members of the Radio Chorus Leipzig · Horst Neumann conductor (2, 3, 5, 6, 11, 16, 19, 21, 23, 26–30) Dorothee Wohlgemuth soprano Christine Wehler alto Georg Poplutz tenor Jens Hamann baritone Martin Haunhorst violin Bernhard Schwarz cello Rainer Maria Klaas piano

Compact Disc 6

1 2 3

From 6 Songs of Various Nationality WoO158c No.1 When my hero in court appears from The Beggar’s Opera No.2 Non, non, Collette n’est point trompeuse from Le Devin du village No.3 Mark yonder pomp of costly fashion (Scottish)

64’42

1’49 1’39

4 5

No.4 Bonnie wee thing (Scottish) No.5 From thee, Eliza, I must go (Scottish)

2’18 2’44

6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

25 Scottish Songs Op.108 No.1 Music, Love, and Wine No.2 Sunset No.3 Oh! sweet were the hours No.4 The Maid of Isla No.5 The sweetest lad was Jamie No.6 Dim, dim is my eye No.7 Bonnie laddie, highland laddie No.8 The lovely lass of Inverness No.9 Behold my love how green the groves No.10 Sympathy No.11 Oh! thou art the lad No.12 Oh, had my fate No.13 Come fill, fill, my good fellow No.14 O, how can I be blithe No.15 O cruel was my father No.16 Could this ill world No.17 O Mary, at thy window be No.18 Enchantress, farewell No.19 O swiftly glides the bonny boat No.20 Faithfu’ Johnief No.21 Jeannie’s Distress No.22 The Highland Watch No.23 The Shepherd’s Song No.24 Again my lyre No.25 Sally in our Alley

1’35 2’40 2’59 2’12 1’47 2’31 1’03 3’13 2’28 1’54 0’54 1’56 1’36 1’54 1’43 1’57 2’08 1’54 2’34 2’57 1’44 1’41 1’51 3’54 1’39

3’11

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(1–5) Dorothee Wohlgemuth soprano Christine Wehler alto Georg Poplutz tenor Jens Hamann baritone Martin Haunhorst violin Bernhard Schwarz cello Rainer Maria Klaas piano (6–30) Renate Kramer soprano Ingeborg Springer mezzo-soprano Eberhard Büchner tenor Günther Leib baritone Eva Ander piano Reinhard Ulbricht violin Joachim Bischof cello Kurt Mahn oboe Werner Pauli guitar Members of the Radio Chorus Leipzig · Horst Neumann conductor

CD1 (1, 3, 4, 7, 9, 12, 14, 16, 18, 22, 25, 27, 28, 31, 34, 36) CD2 (1–3, 5, 7, 8) Recording: 21–22 February 2007, Ferdinand-Trimborn-Saal, Städtische Musikschule, Ratingen, Germany Recording producer: Nicol Matt Recording engineer & editing: Gerd Puchelt Language coach: David Mulvenna Hamilton 2007 & 2015 Brilliant Classics

CD1 (2, 5, 6, 8, 10, 11, 13, 15, 17, 19, 20, 21, 23, 24, 26, 29, 30, 32, 33, 35) CD2 (4, 6, 9) Recording: 1979 2015 Brilliant Classics Licensed from Edel Classics GmbH, Germany CD2 (10–21) Recording: February 2007, Bauer Studios, Ludwigsburg, Germany Recording producer: Nicol Matt Recording engineer: Adrian Ripka Language coach: David Mulvenna Hamilton 2015 Brilliant Classics CDs 3 & 4 Recording: 8–15 February 2007, Bauer Studios Ludwigsburg, Germany Recording producer: Nicol Matt Recording engineer: Phillip Heck Language coach: David Mulvenna Hamilton 2015 Brilliant Classics CD5 (1, 4, 7–10, 12, 13–15, 17, 18, 20, 22, 24, 25) CD6 (6–30) Recording: 1972, Ferdinand-Trimborn-Saal, Städtische Musikschule, Ratingen, Germany Recording producer: Nicol Matt Recording engineer: Gerd Puchelt 2015 Brilliant Classics Licensed from Edel Classics GmbH, Germany CD5 (2, 3, 5, 6, 11, 16, 19, 21, 23, 26–30) CD6 (1–5) Recording: 22–23 February 2007, Ferdinand-Trimborn-Saal, Städtische Musikschule, Ratingen, Germany Recording producer: Gerd Puchelt Editing: Gerd Puchelt 2007 & 2015 Brilliant Classics

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Beethoven: Folksong arrangements Despite the fact that he was one of the key figures of Western music, there are still some works by Ludwig van Beethoven that remain relatively unknown. To this group belong roughly 180 arrangements of folk songs composed between 1809 and 1820, most originating from the British Isles. Although the arrangements are mentioned in every book on the composer, it is not surprising that many people are still unfamiliar with the works. Neither Beethoven nor the man who commissioned them were satisfied with the results, though for different reasons. The idea for the folksong settings didn’t come from Beethoven, but from the Edinburgh publisher George Thomson (1757–1851). Before Thomson asked the composer to write the settings, he had already asked the same of Ignaz Pleyel (1757–1831), Leopold Kozeluch (1747–1818) and Joseph Haydn (1732–1809). Thomson had huge commercial success with these settings and tried to continue this by approaching the greatest (and certainly the most famous) living composer. When Beethoven started work on the folksong settings, he had already supplied Thomson with his sets of folksong variations for flute and piano Opp. 105 and 107. The very attempt to make contact was an enterprise in itself, since the territory of Austria was occupied by France, which was at war with England. It took a long time before correspondence arrived, if it did at all. When the war ended in 1815 with the defeat of Napoleon, however, the situation hardly improved; correspondence remained almost as problematic as before. Folk song in 18th-century Britain was a genre in transition. Initially it was music comprised of simple structures and melodies, with texts often about everyday matters, and mainly regarded as a genre for the lower classes, rejected with contempt by the upper classes. During the 18th century, this changed. The rising bourgeoisie appreciated folk song’s simple words and music; the genre affirmed the myth of the idyllic countryside and an emotionality uncorrupted by culture and conformity. Around 1800, the idea of man standing close to nature and full of romantic emotion found a new voice in the figure of Ossian, a fictional character admired for his courage, great intensity, sincerity, directness and artistic talent. Though he was a literary creation, there were many during Beethoven’s lifetime, including Beethoven himself, who yearned to see his fictional attributes embodied by real-life figures, and many of Beethoven’s contemporaries regarded the composer himself as a kind of Ossian figure. After Napoleon was deposed from power, Ossian gradually disappeared out of the public arena, but the ideas embodied in the folk songs and in the character

of Ossian, partly derived from the writings from Rousseau, helped to popularise the folk song, which in turn made the genre attractive for an entrepreneur like Thomson. When he approached Pleyel, Kozeluch and Haydn, he hoped these famous composers would enrich the folk songs with accompaniments that were both musically interesting and playable by amateurs; usually women who spent most of their time at home reading books, making music or nurturing children. Whether out of obedience, opportunism or a sense of marketing, the three composers – Pleyel, Kozeluch and Haydn – gave Thomson the kind of arrangements he had hoped for. The accompaniments respect the structure of the songs, and the instrumental writing (often for piano, sometimes with one or two extra instruments) is easy enough for an amateur to play. The works are easier to play than Haydn’s original songs and illustrate the extent to which these three composers lived in the pre-Schubert era. The form is simple and the words are well supported by the music, which serves as an accompaniment rather than anything of dramatic significance. Each composition is primarily intended as entertainment for intimate occasions, not as ‘high art’ with a deep meaning. Thomson hoped Beethoven would compose the same kind of folksong settings. He first approached him in 1803, but only asked him to compose in 1806; Beethoven was willing, but only on the condition that he would earn just as much as Haydn, thereafter producing settings in more than 20 groups based on songs sent to him by Thomson. The precise history of these compositions is complicated and difficult to determine – it is unclear when the individual songs were written – and the publications were also marked by a lack of clarity. The first collection with 25 Scottish songs accompanied by piano trio, probably written in 1815 or 1816, appeared in 1818 in Edinburgh as Beethoven’s Op.108. The set exists in more than one version: one made by Thomson in 1818, in which he changed Beethoven’s compositions in order to make them more accessible for his supposed audience, and a second, continental one from 1820, in which Beethoven corrected these ‘errors’. If Beethoven had a clear order for the songs in mind, we don’t know what it was. Some people have declared that the order of the songs in Op.108 suggests a kind of song cycle, comparable with his An die ferne Geliebte Op.98, but this theory is based on modern analysis of the score rather than statements by the composer. Many years after Beethoven’s death, the remaining songs were published: WoO154 (Werk ohne Opuszahl) by Artaria in 1855, WoO157 by Peters in 1860 and WoO 152–3 and 155–6 in the edition of the complete works by Beethoven in 1862–5. WoO158 was published after 1900. The words selected by Thomson frequently originated in Scotland, Ireland and Wales, with the

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melodies mostly originating from England and Scotland. The most important contributor was William Smyth (1765–1849), a professor of history at Cambridge from 1807 until his death. Beethoven used around 40 of his poems. A second important source was Robert Burns (1759–1796), who delivered the words for about 19 Beethoven settings. Walter Scott (1771–1832), now mainly known for his novel about Ivanhoe (which Beethoven knew and greatly admired), contributed nine texts; one of them, On the Massacre of Glencoe, was set to music twice (WoO152 No.5 and WoO156 No.10). Beethoven did not work uninterrupted on the songs. On finishing a new group he would send them to Thomson, not only offering his latest creations but also demanding his fee. If he had created more than had been arranged, such as a more extensive introduction to a song, this was a good reason to demand a higher fee, which Thomson would reluctantly give him. Although Beethoven was involved with this project over a period of almost ten years, his approach to the given melodies during this time hardly changed. It is highly unlikely that Beethoven cared about the exact destiny of the songs, as he seemed to feel he could treat them as he wished. He did not need to know the precise words, but he insisted on being informed about the content. Occasionally Thomson failed to send the text with the melody, arguing that the poet had not yet found the right words for the tune. This prompted Beethoven to remark, ‘If I have no words, I don’t know how to arrange the music’ – an interesting comment, as not only did Beethoven not understand English (his letters to Thomson were in French) but he may have possibly also required dramatic ideas when composing his instrumental works. But even if Beethoven did consider the meaning of the text to be important, this does not imply that he gave the words special musical treatment. Most of the songs are strophic, meaning that the rhythmic structure of the entire work and of each phrase is more important than a madrigal-like way of expression. Rarely do the phrasing and the tempo allow the singer to emphasise a word with a special musical gesture or ornamentation, as is the habit in a lot of ‘serious’ Baroque and Classical music. Although the words are always clear and although the instruments serve the voice, the ongoing, regular beat is hardly ever disrupted. This regularity did not prevent Beethoven from making the instrumental parts fairly complex: that is to say less complex than in his original songs, and certainly less complex than in his instrumental music, but enough for Thomson to complain, ‘I take the liberty of asking that the composition of the piano accompaniment be the simplest and easiest to play, because our young maidens when singing our national airs do not like, and are

scarcely able, to perform a difficult accompaniment’. By comparison, Thomson was very happy with the versions of Pleyel, Haydn and Kozeluch; Kozeluch was described by Beethoven as a ‘miserabilis’. In his settings, Beethoven respected the hierarchy between words depending on whether or not they fall on strong beats of the poem. The ‘accents’ in the text coincide with the ‘accents’ in the music. This is emphasised not only by the rhythm but by the harmony as well. The complexity in the instrumental parts is for the performer, not for the listener. Far more complex are the instrumental introductions and intermezzi between the strophes, no matter how brief. They often demand much more subtle freedom in tempo, sudden dynamics and rhythmic accents, probably because Beethoven didn’t feel limited by the given melody. Additionally, they frequently resemble other pieces Beethoven wrote at the time, such as An die ferne Geliebte and the two Cello Sonatas Op.102. Like the instrumental accompaniments, they were too simple for Beethoven and too complicated for Thomson (and very unusual for the settings in which they were performed). ‘Introduction’ may not be the right word, as the music starts without voice and is continued in the passages with voice. What makes the collaboration between singer and instrument even harder is the fact that the instruments often double the vocal line, which can be both a help and a hindrance. The harmony is less imaginative and much more obedient to the rhythm of the sentence, with more chords on the tonic and the dominant, certainly when compared to Beethoven’s original instrumental works in which he is much more varied and flexible. Beethoven would occasionally change the rhythm he received from Thomson in order to make the words easier to sing. What Beethoven also respected in the folk songs was the modal element, crucial to this kind of music but highly unfashionable among contemporaneous serious composers on the continent. Beethoven had been educated in this technique during his youth when he became well acquainted with Catholic church music, and he only occasionally used it in an overall tonal context, certainly not on as grand and complex a scale. The tonality in the settings often goes hand-in-hand with the frequent regularity of the phrasing, just as the incidental irregular patterns in the melody often are related to modal elements. Maybe these features in the originals (rather rare in Beethoven’s own original compositions) strengthened his wish to experiment in other areas. The songs can be seen, retrospectively, as a preparation for the Ninth Symphony in which Beethoven aims to speak to mankind in a language both personal and universal. The theme in the symphony is popular in character and the variations highly complex, at least for the period. Like the theme and variations

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of the symphony, folk songs are meant for a large audience, while Beethoven’s settings were ultimately only appreciated by a minority, not numerous enough to be of use to an entrepreneur like Thomson. Modality would also feature on a grand scale in the Missa solemnis. The collaboration between Thomson and Beethoven was ended by Thomson in 1819. Two years later Thomson wrote about Beethoven, ‘He composes for posterity’, and briefly before, ‘I flatter myself that the time is coming when the English will be able to understand and truly feel the great beauties.’ The position of these songs somewhere between a purely folk work and a serious composition made it difficult for the pieces to be accepted by either casual listeners or connoisseurs. In a sense this is still true, but one thing has definitely changed: almost every amateur, in and outside the British Isles, can play them. And when they do, they often experience much pleasure. Emanuel Overbeeke

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