Beethoven's muses

Friday 14 February 2020

Alexander Warenberg cello | Nikola Meeuwsen piano | Alon Sariel mandolin | Ishay Shaer piano | Peter Gijsbertsen tenor | Jozef De Beenhouwer piano | Silvia Careddu flute | Alexander Glücksmann clarinet | Simply QuartetTim Brackman violin | Elise Karen Tavenier viola | Pieter de Koe cello | Nicholas Schwartz double bass | Antje Weithaas violin | Quirine Viersen cello | Thomas Hoppe piano

 8.00 p.m. | de Nieuwe Kerk

Beethoven is bursting with life. With a proud, rhythmic gait and contentious harmonies Beethoven shows his audience how he is coping with his impending deafness. His music evokes, above all, strong emotions.


Beethoven: 12 Variations on ‘Ein Mädchen oder Weibchen‘, Op. 66 | Sonatinas WoO 43a/44a | Uri Caine: Aleph-Beet(hoven) - Dutch premiere | Beethoven: An die ferne Geliebte, Op. 98 | Brett Dean: arrangement of String Quartet Op. 59 No. 1, 3rd mov.: Adagio molto e mesto - Dutch premiere | Beethoven: Piano Trio in D major, Op. 70 No. 1 ‘Ghost’


Beethoven: Twelve Variations on ‘Ein Mädchen oder Weibchen’

Beethoven composed his twelve variations on ‘Ein Mädchen oder Weibchen’, Papageno’s aria from Mozart’s Magic Flute, as early as in 1798, which is remarkable considering the high opus number (66). It was also the first composition of Beethoven’s to be reviewed in the Leipziger Allgemeine Musikalische Zeitung, on 6 March 1799.

Beethoven: Works for mandolin and piano

Countess Josephine von Clary Aldringen took playing the mandolin very seriously indeed. Ludwig van Beethoven met her during his first concert tour in 1796. Josephine was only 19 years old at the time, and was not only a talented singer but also a very talented mandolin player. Beethoven dedicated several compositions for mandolin and piano to her. In addition several of Beethoven’s sonatinas, this evening’s concert will feature the Dutch première of Uri Caine’s ‘Aleph-Beet (hoven)’ – ‘alpha-bet’ in Hebrew.

Beethoven: An die ferne Geliebte

‘To the Distant Beloved’ is generally considered to be the very first song cycle in the history of Western Art Music. Schubert, Schumann and Wolf would later follow this example with extensive compositions. Written in 1816, it is clearly autobiographical; Beethoven’s letters dating from 1812 regularly refer to ‘the Immortal Beloved’. The lyrics were written by the physicist Alois Isidor Jetteles at Beethoven’s request.


Brett Dean: Adagio molto e mesto from String Quartet, Op. 59 No. 1

In 2013 Brett Dean decided to create an orchestral arrangement of this work, which in his opinion is clearly symphonic in nature. It is part of his ‘Testament Music’ for orchestra. The work will be premièred at the Februari Festival with flautist Silvia Careddu and a group of young musicians which will include the Simply Quartet and members of the Animato Kwartet.

Beethoven: Piano Trio, Op.70 No. 1 ‘Ghost Trio’

This Piano Trio was written when Beethoven stayed at the Florisdorf country estate of Countess Anna-Maria von Erdödy in 1809. One of the themes would later be use in the Ninth Symphony: at least in this respect the Trio movement appears not to have given up the ghost!


* Programmawijzigingen voorbehouden.