Hanseatenweg → Hall 1

FRI 13.3.
6 pm

Chamber Music

Beethoven and Sakellaridis

 

Ludwig van Beethoven: Variations for violoncello and piano WoO 46 "Bei Männern, welche Liebe fühlen"

Thanos Sakellaridis: Please Enter the Underground (2019) for a duo of two paetzold recorders

Ludwig van Beethoven: Cello sonata no. 1 C major op. 5,1

In 1796, Ludwig van Beethoven wrote his first Cello Sonata in F Major Op. 5/1 and G Minor Op 5/2. The common title he chose for them was Deux Grand Sonates pour Le Clavecin ou Piano-Forte avec un Violoncelle obligé. This refers to the special relationship between the two instruments: the piano was no longer the centre point as it was for Mozart; here the cello was an equal partner. The composition followed the encounter with Jean Louis Duport, one of the greatest cello virtuosos of his time. Both the cello part and the piano part are appropriately demanding. Imagine one of the solo piano parts from the first two piano concertos being joined by a virtuoso cello. But in this work imbued with youthful strength and freshness, virtuosity is certainly not everything – Beethoven was already experimenting with form here. It only has two movements of large-scale dimensions (the first movement lasts a total of approx. 17 minutes), with the first allegro preceded by a broad, slow introduction that anticipates his late style. Here, the flow of time defies metric classification from the very first moment.

In 1801, Beethoven wrote his seven Variations for Cello and Piano, Bei Männern, welche Liebe fühlen (WoO 46), on a theme taken from Mozart‘s The Magic Flute. This rather delicate and simple work, composed in 1801, is in the immediate temporal context of the creation of some of Beethoven’s greatest works, such as The Tempest Sonata Op 31 / 2, composed in 1801 / 1802.

Beethoven is juxtaposed by a work by Thanos Sakellaridis: Please Enter the Underground (2019) for a duet with two paetzold recorders. Just as Beethoven gave the violoncello its own voice in the sonata by writing numerous compositions around 1800, here, an instrument whose role in the world of music is still developing takes centre stage: the paetzold recorder. This instrument has only been around for a few decades and uses a square rather than a round tube. This new creation initially motivated by reasons of cost-efficiency allows the discovery of many new sounds. Thanos Sakellaridis‘ work achieves "rhythmic and gestural patterns that are slowly subjected to a process of constant repetition, returning to their initial state again at the end".

With Rosalía Gómez Lasheras (fortepiano), Santiago Bernal Montaña (violoncello), Max Volbers, Elisabeth Wirth (paetzold recorders)