Robert Greenberg

Historian, Composer, Pianist, Speaker, Author

Archive for Beethoven

Dr. Bob Prescribes THE CONCERT and Beethoven’s Choral Fantasy

Thomas Kelly’s book First Nights – Five Musical Premieres is outstanding: well researched, beautifully written, and highly entertaining. It tells the stories behind five musical premieres, premieres that by their inclusion in the book implies that Kelly considers them to be the most important/interesting premieres in Western music history. Those premieres are Claudio Monteverdi’s Orfeo, on Saturday, February 24, 1607; George Frederick Handel’s Messiah on Tuesday, April 13, 172 (at 12 noon); Ludwig van Beethoven’s Symphony No. 9 on Friday, May 7, 1824 (at 7 pm); Hector Berlioz’ Symphonie Fantastique on Sunday, December 5, 1830 (at 2 pm) and Igor Stravinsky’s The Rite of Spring on Thursday, May 29, 1913 (8:45 pm). I know it’s all-too-easy to criticize anyone’s “top ten” list (or in this case, “top five”). Furthermore, I am loath to criticize a scholar as distinguished as the American musicologist Thomas Forrest Kelly (born 1942), who is the Morton B. Knafel Professor of Music at Harvard. Nevertheless, I must humbly assert that Professor Kelly missed the boat with his list (and not just missed the boat but fell into piranha-infested waters without his pants on), because nowhere in his book (including the preface and introduction) does he mention […]

Continue Reading

Dr. Bob ‘Sort of’ Prescribes Beethoven – Der glorreiche Augenblick

Beethoven (1770-1827) officially turns 250 years young tomorrow, and we can only wish that we were able to gather together in celebration of the great man’s birthday. Thanks a lot, COVID-19, for pooping Beethoven’s party. We persevere. Today, I’m offering up something a bit different from the usual Dr. Bob Prescribes post. The avowed mission of Dr. Bob Prescribes is to recommend recordings and/or works and/or performers with which/whom we may not be familiar. To that end, in anticipation of Beethoven’s 250th birthday, I’ve been posting – since the summer of 2019 – about lesser known but deserving works by Beethoven and lesser known but deserving performances of works by Beethoven. Today’s Dr. Bob Prescribes deals with a lesser known and undeserving work by Beethoven, the cantata Der glorreiche Augenblick (“The Glorious Moment”), Op. 136. (It was composed in 1814 but not published until 1837, ten years after Beethoven’s death, which explains its high opus number.) Unsatisfying and overblown though the cantata is, the personal and historic circumstances behind its creation are fascinating. Thus, today’s post. The Letter Among the mountain of papers, letters, contracts, doodles, pink slips and such that Beethoven left behind after his death was a love […]

Continue Reading

Dr. Bob Prescribes Beethoven Piano Concerto in D, Op. 61a

Compositionally, 1806 was a miraculous year for Herr Ludwig van Beethoven. Among the works he completed that year were the Piano Sonata in F minor, the Appassionata, Op. 57; the Piano Concerto No. 4 in G major, Op. 58; the three so-called “Razumovsky” String Quartets, Op. 59, nos. 1, 2, and 3; the Symphony No. 4 in B-flat major, Op. 60; the Violin Concerto in D major, Op. 61; the second Version of his opera Leonore (as well as the Leonore Overtures nos. 2 and 3) (Leonore was renamed Fidelio in 1814); 32 Variations on an Original Theme in C minor, WoO (without opus) 80; and Six Ecossaises for piano, WoO 83;  (For those who’s like to know much more about Beethoven in 1806, I can happily recommend Mark Ferraguto’s excellent Beethoven 1806, published by Oxford University Press in 2019.) Crazy. Some ten years into his hearing loss, in poor mental health, and plagued by gastric issues that would lay most of us low for weeks at a time, Beethoven’s creative juices and sheer ingenuity were running at a level inconceivable to any of us today.  His Violin Concerto received its premiere that same year – 1806 – on December […]

Continue Reading

Dr. Bob Prescribes Beethoven Piano Concerto WoO 4

What a birthday rip-off.  Until roughly March 15 of this year, I had always assumed that the two worst birthday rip-offs were being born on December 25 (“we’re giving you a combined birthday/holiday gift this year . . .”) and February 29 (“we’ll celebrate again in four years!”). But no, there is a bigger rip, and that’s having what should have been a yearlong celebration of concerts and colloquia and lectures and special events in honor of Beethoven’s 250th cut down to three months because of you-freaking-know-what.  Dang. By the time we all start consistently crawling back to our concert halls – I’m thinking (hoping) winter-spring 2021, the Beethoven birthday year – which presumably runs from December 16, 2019 to December 16, 2020, will have come and gone. HERE’S WHAT I PROPOSE, and pardon me for yelling. I propose we take a Mulligan, do the whole thing over, and extend the festivities by a full year. The Beethoven Symphonies, Concerti, String Quartets, Piano Sonatas, etc. and etc. that were scheduled for performances, only to be cancelled due to COVID-19, should simply be rescheduled. The activities and events surrounding the B-man’s B-day should, again, all be rescheduled. It’s only fair, and […]

Continue Reading

Dr. Bob Prescribes Beethoven: An die ferne Geliebte

Covid-19 be damned, it’s still Beethoven’s 250th birth year and that celebration stops for nothing and no one, certainly not here on the pages of Dr. Bob Prescribes. Let us then continue to revel in some of Beethoven’s lesser-known works and lesser-known performances. Today’s Dr. Bob Prescribes is the third and final post to be dedicated to Beethoven’s songs, which together constitute the most under-appreciated segment of his entire output. (Instead of the word “output”, I was about to write oeuvre, which is French for “the collected works of a painter, composer, or author.” But I’ve decided that an English language post shouldn’t refer to a German’s compositional output using a French word. Which immediately brought to mind – as I sure it does for you as well – Henry Watson Fowler’s injunction against using French words in his wonderful A Dictionary of Modern English Usage, Oxford, 1926, which can actually be read for pleasure so entertaining are the entries. Here’s what Fowler [1858–1933, the so-called “Warden of the English Language”] writes: “FRENCH WORDS. Display of superior knowledge is as great a vulgarity as display of superior wealth – greater, indeed, inasmuch as knowledge should tend more definitely than wealth […]

Continue Reading

Dr. Bob Prescribes: Beethoven Lieder

Beethoven Songs Beethoven’s songs? Yes indeed, Beethoven composed over 90 songs for voice and piano and arranged an additional 179 Irish, Scottish, Welsh and other folksongs for voice, piano, violin and cello. Beethoven’s songs are among his least known and least appreciated works, and this must and will stop, at least here on the cyber-pages of Dr. Bob Prescribes!  Here’s what I intend to do about it. Over the course of the next two months, I will dedicate three posts – starting today – to Beethoven’s songs. Today’s post will establish Beethoven’s bona fides as not just a composer of songs but as a composer for the voice. The next post will deal with his folk song arrangements and finally, the third post will celebrate a brilliant performance of Beethoven’s greatest single vocal work, the song cycle An die ferne Gelibte (“To the Distant Beloved”), Op. 98, of 1816. Readers of this post are aware that I usually begin with the background of the work in question before moving on to the recommended recording. We’re going to do things differently here by beginning with the recommended recording and then moving on to something of a tutorial on Beethoven’s songs. This […]

Continue Reading

Dr. Bob Prescribes: The Life and Times of Beethoven – The First Angry Man

In February of this year, I was asked to be among the first “influencers” (yes, that’s how I was referred to: I, who am incapable of “influencing” my daughter to turn out the lights when she’s left a room or my son to flush the freakin’ toilet) to record original content for Amazon’s Audible brand. The result is a ten-lecture, five-hour (30 minutes per lecture), 40,000-word biography of Beethoven titled The Life and Times of Beethoven: The First Angry Man. Created in conjunction with The Great Courses, the course was recorded in Chantilly, Virginia in July and hit the market last month. A couple of points before moving on.  Point one. By titling my course The First Angry Man, I have, admittedly, indulged in the tired cliché that Beethoven was angry pretty much all the time, a cliché reinforced a gazillion-fold by the famously scowling images of Beethoven that became stock-in-trade of the Beethoven myth as it evolved during the nineteenth century. In response to the clichéd images of a sullen, glowering Beethoven, enjoy the included image of Beethoven smiling. Yes, of course, it is bogus, but so is the impression that he never smiled or laughed, which he did, […]

Continue Reading

Music History Monday: The Man

We mark the birth on December 16, 1770 – 249 years ago today – of Ludwig, or Louis, or Luigi (he went by all three names) van Beethoven, in the Rhineland city of Bonn. Although there is no documentary evidence confirming that Beethoven was actually born on the 16th, we assume – with that proverbial 99.99% degree of certainty – that he was. This is because the Catholic parishes of the time required that newborns be baptized within 24 hours of birth and Beethoven’s baptism was registered at the church of St. Remigius on December 17, 1770.

As we brace ourselves for the hoopla celebrating the 250th year of Beethoven’s birth, we pause and ask ourselves, honestly, why Beethoven: why do we, as a listening public, so adore his music?

I would answer that question by drawing on some material from my recently published “Audible Original Course”, Beethoven: The First Angry Man (which, gratuitously, will be the topic of tomorrow’s Dr. Bob Prescribes post)

Continue Reading

Dr. Bob Prescribes Emil Gilels

This post continues the celebration of Beethoven’s upcoming semiquincentennial (250th anniversary of his birth) by featuring what is, for me, my out-of-the-ballpark favorite performance of what is, for me, my favorite Beethoven Piano Concerto. We contemplate, for a moment, youth, innocence, and the inevitable loss of both. I am writing this post on October 14, 2019. Today is my daughter Lillian Patricia’s 13th birthday; for not the first time in my life I have a teenaged daughter under my roof. Lily is still – may it long last – as sweet as can be, as the picture to the right (taken last night in her Halloween outfit) attests. But. But as experience has taught me, I am (painfully) aware that some point in the next two years she will suddenly and inexplicably disappear, to be replaced by an irrational, cynical, hypersensitive, over-emotional, easily angered, appearance-obsessed clone, someone pathologically hostile towards my jokes and given to door-slamming exhibitions of pique. I am additionally aware that it could take up to five or even six years to find my real daughter, during which time the rest of us will have to tread as if walking on glass.  Lillian’s childhood is almost over, […]

Continue Reading

Dr. Bob Prescribes: Beethoven Piano Quartet No. 3, WoO 36

The year 2020 will mark our adored Louis van Beethoven’s 250th birthday. As discussed in Dr. Bob Prescribes on July 23, among my contributions to the coming year-of-living-Beethoven hoopla will be a series of posts exploring some of Beethoven’s lesser-known works and/or performances we should all know about. On July 23, the object of our affection was Beethoven’s magnificent Mass in C of 1807. Today we turn to Beethoven’s Piano Quartet in C Major, WoO 36, No. 3 of 1785. (“WoO” does not signify a fist-pumped expression of approbation: “woo, WOO!”, but rather, “Werke ohne Opuszahl”, a “work without opus number.” Werke ohne Opuszahl is a catalog published in 1955 that lists most the works by Beethoven that did not receive an opus number or that survived only in fragmentary form.)  Beethoven composed the three piano quartets of “WoO 36” when he was but a wee shaver of 14. What makes the third of these piano quartets super-special is that despite its obvious debt to Mozart, it is the first work by Beethoven that sounds like Beethoven. For this we have one person to thank, the single person who allowed Beethoven to become “Beethoven”: his principal music teacher, Christian Gottlob […]

Continue Reading