Beethoven's happiest years Chamber works from early years in Vienna Saturday, February 12, 2011

Overview	In early November 1792, a young organist and harpsichordist from Bonn, named Ludwig van Beethoven, (1770-1827) arrived in Vienna. In Vienna, music was everywhere. It boasted the finest musicians, concerts and theatres, and investment in culture was abundant. Several orchestras and numerous music theatres strived for audiences, and noble homes nurtured chamber music. It was, as Mozart had written some ten years previous, "the best place in the world" for the métier of musician and composer. Very soon, Beethoven became overwhelmingly popular in the salons of Vienna, above all as an extraordinary improviser. At a significant benefit concert organized by The Musicians’ Society, in which almost two hundred professional musicians participated, Beethoven made a watershed appearance before the Viennese audience as performer and composer, playing a piano concerto of his own composition. After the event, music lovers flocked to subscribe to the edition of his Trios for Piano, Violin, and Violoncello Op.1. This was a huge success – he had conquered Vienna! These were the happiest years of Beethoven’s life, and soon he gave himself completely to composition. He produced at least ten Piano Sonatas, six String Quartets, trios, duets, a greatly popular Septet for Winds and Strings, the Quintet for piano and Winds, two Concertos for Piano and Orchestra, and a Symphony – all during the last years of the eighteenth century. These years were the happy prelude to what would become a symbol of the struggle of Humanity against its Fate. For, by the end of the century, the most celebrated Viennese composer Ludwig van Beethoven sensed he was losing his hearing.
Performers	Elyssa Lefurgey-Smith (violin); Nicolai Tarasov (clarinet); Kerri McGonigle (cello) and Sharon Burlacoff (fortepiano)
Programme	Our programme is a collection of Beethoven’s youthful and uplifting early chamber music works written in Vienna: Three Piano Trio op.1 (1795); Cello Sonata No.1 in F op.5 (1796); Clarinet Trio in B flat op.11 (1798) and Violin Sonata No.1 in D (1798).
Programme Notes	In early November 1792, a young organist and harpsichordist from Bonn, named Ludwig van Beethoven (1770-1827), arrived in Vienna. In Vienna, music was everywhere! The city boasted the finest musicians, concerts and theatres, and its investment in culture was abundant. A multitude of orchestras and music theatres reached out for audiences and noble homes nurtured chamber music, making Vienna, as Mozart had written some ten years previous, "the best place in the world" for a musician and composer like Beethoven. And he was there, unequivocally, to make his mark. This was not Beethoven's first visit to the capital of the Empire. A few years earlier, in March 1787, Beethoven had come to Vienna, presumably with the hope of studying with Wolfgang Mozart. It is not quite clear whether the two composers actually met at that time. But what is known is that, after his arrival, Beethoven's family situation changed abruptly and he was forced to forego his aspirations and return home. In 1792, however, things were different. Beethoven now had not only the financial support of the Elector of Bonn, Maximilian Franz (the youngest son of Empress Maria Theresa of Austria) and a firm commitment from the great Joseph Haydn to study with the illustrious master, but also a significant body of his own musical works created (albeit not published - most are currently catalogued as Woo, "works without opus") which clearly demonstrated his growth as a composer. Significantly, he also had the blessing of his lifelong friend and financial supporter, Count Ferdinand von Waldstein, who in his farewell note to Beethoven wrote: "Through uninterrupted diligence you will receive Mozart's spirit through Haydn's hands." Uninterrupted diligence, yes, but strategy as well. In Vienna, Beethoven did not at once prove himself as a composer but, rather, quickly established his reputation as a piano virtuoso, becoming overwhelmingly popular in the salons of Vienna. In an apparently clever marketing move, he delayed the publication of his compositions until after his first major public performance so that they would have much greater impact. And the right moment did come. On March 28, 1795, at a grand benefit concert organized by The Musicians? Society in which almost two hundred professional musicians participated, Beethoven made a stunning appearance before the Viennese audience as both performer and composer, brilliantly playing his own music. After the event, music lovers flocked to subscribe to the edition of his Trios for Piano, Violin, and Violoncello Op.1. This was a huge success - he had conquered Vienna! These were the happiest years of Beethoven's life, and soon he was able to give himself completely to composition. He produced at least ten Piano Sonatas, six String Quartets, trios, duets, a greatly popular Septet for Winds and Strings, the Quintet for piano and Winds, two Concertos for Piano and Orchestra, and a Symphony - all during the last years of the eighteenth century. But these years were the happy prelude to what would soon become a symbol of the struggle of Humanity against its Fate, for, by the end of the century, the most celebrated Viennese composer Ludwig van Beethoven sensed he was losing his hearing. Tonight we are presenting what is but a small portion of the extraordinary wealth of youthful and uplifting music created by Beethoven during his earliest and happiest years in Vienna (1792-1799). Piano Trios Opus 1 by Ludwig van Beethoven is a set of three trios written for piano, violin, and violoncello. This music was first performed in 1793 in the home of Prince Lichnowsky, to whom they are dedicated. The trios were published in 1795 by Carlo Artaria (Mozart's principal publisher) after Beethoven's first significant public success. Tonight we are presenting the first movement of the First Trio Opus 1 as a milestone of Beethoven career as a composer. Cello Sonata Op.5 No.1 in F Major. As Beethoven's fame grew, he began doing what all performers do - go on tours. In February 1796, Beethoven went on tour in Prague and Berlin accompanied by one of his lifetime supporters and admirers, Prince Lichnowsky. He was very successful in both cities and, while in Berlin, met the King of Prussia Friedrich Wilhelm II, an amateur but enthusiastic cello player. Beethoven played several times at the court and as an homage to the King composed two cello sonatas (Opus 5). Both sonatas are in two movements, with a long Adagio introduction leading to the opening Allegro. The Violin Sonata No.1 in D major, the first of Beethoven's Opus 12 set, was written in 1798 and dedicated to Antonio Salieri (1750-1825), one of Beethoven?s teachers. As Austrian Imperial Kapellmeister responsible for music at the Court Chapel and its attached school, Salieri taught Beethoven the art of singing, mainly for the opera. The Trio Op. 11 is one of Beethoven's early chamber works featuring woodwind instruments. Dedicated to Countess Maria Wilhelmine von Thun, it was composed in 1797 and published in Vienna the next year. The last movement of the trio is a set of variations, the theme for which Beethoven used the popular aria "Pria ch'io l'impegno" (Before I begin work, I must hove something to eat) from the comic opera "L'amor marinaro" (Sailors' Loves) by Joseph Weigl. This opera had premiered on October 15, 1797 with enormous success and the aria had immediately become a "Gassenhauer" (Street Song) commonly whistled all over Vienna, and therefore everyone who heard the Beethoven trio would get the joke. It's interesting that when the tune faded from popularity, Beethoven intended to write another finale for the trio but never got around to it.
Reviews	Dear Nicolai: Your Saturday Beethoven concert was absolutely wonderful. Thank you for selecting these gems of Ludwig's best years. I was impressed by Elyssa's violin playing and, even more so, by Kerri's cello playing and her attitude. A real talent there. The fact that Christina Mahler, Tafelmusik's principal cellist, was in the audience is a testimony to Kerri's accomplished artistry. Thank you for providing a great music experience... I look forward to your final season concert in April. Steve Gahbauer, avid listener and grateful subscriber. Dear Sharon, You did a fabulous job a couple of weeks back in your Beethoven recital. I'm so pleased I was able to attend and hear the forte-piano. I especially enjoyed the clarinet trio at the end with Nicolai's period clarinet. The balance between you all was great! Peter
Blog	March 11, 2011: We had a wonderful Beethoven's concerts - great comments after the performance (click here to read the review). It was a début in our Series for Elyssa and Kerri and what an enjoyable and fine playing they both demonstrated! February 10, 2011: After very successful first concert, we are ready to present our second programme. Here are Sharon and Elyssa today working on Beethoven's D Major Violin Sonata.