 | No. 324 of the ongoing ITYWLTMT series of audio montages is this week's Tuesday Blog. It can be found in our archives at https://archive.org/details/pcast324 |
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The two new podcasts I have prepared for this month explore Beethoven in the context of arrangements and orchestrations. The main feature this week, Beethoven’s piano concerto op. 61a, is a straight-forward adaptation of his violin concerto, substituting the violin for the piano.
According to Wikipedia, at the request of Muzio Clementi, Beethoven revised his violin concerto in a version for piano and orchestra. For this version, which is present as a sketch in the Violin Concerto's autograph alongside revisions to the solo part, Beethoven wrote a lengthy, somewhat bombastic first movement cadenza which features the orchestra's timpanist along with the solo pianist.
More recently, it has been arranged as a concerto for clarinet and orchestra by Mikhail Pletnev. Robert Bockmühl (1820/21–1881) arranged the solo violin part for cello & played it as a Cello Concerto; Gary Karr played Bockmühl's arrangement on a double-bass tuned in fifths as a double bass concerto.
Today’s soloist, Daniel Barenboim (who also acts as conductor) recorded the complete Beethoven concertos a few rimes, most noteworthily as soloist and conductor with the Staatskapelle Berlin (for Decca) and with Otto Klemperer as conductor with the Philharmonia (and New Philharmonia) for EMI. Those early concerti are contemporaneous to his first complete cycle of Beethoven sonatas for EMI (issued between 1967 and 1970 and a complete do-over digitally in the mid-2000’s). Impressively, he plays all of the sonatas from memory. (That's about 11 hours of music!)
From that analog set, I retained sonatas 5 and 16 as filler for today’s podcast.
I think you will love this music too
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