Robert Greenberg

Historian, Composer, Pianist, Speaker, Author

Archive for Beethoven250

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 […]

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Dr. Bob Prescribes – Beethoven: Arrangements of Irish, Scottish, and Welsh Songs

We return to the birthday boy, Ludwig/Louis/Luigi van Beethoven, who turns 250 years-young this very year of 2020. As promised/threatened back in mid-2019, every month or two through 2020 I will dedicate a Dr. Bob Prescribes post to one or another of Beethoven’s lesser-known works or lesser-known recordings. On July 23, 2019 it was Beethoven’s Mass in C; on August 27, 2019 it was Beethoven’s Piano Quartet No. 3 in C Major, WoO 36 (a work composed when he was 14); on October 15, it was Emil Gilels’ superb recording of Beethoven’s Piano Concerto No. 4. Dr. Bob Prescribes for December 31 was a lengthy post on Beethoven’s songs, which are entirely under-appreciated and underperformed. Just so, today’s post will be the second of a projected three dealing with Beethoven’s songs; that third post, which will appear most definitely whenever (vague enough for you?) will focus on Beethoven’s vocal masterwork, Liederkreis an die ferne Geliebte (“Song-circle To the Distant Beloved”), Op. 98 of 1816. For today we turn to a body of Beethoven’s work – a very large body of Beethoven’s work – that remains almost unknown: his folk song arrangements. Between 1809 and 1818 Beethoven arranged 179 Scottish, Irish, […]

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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 […]

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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 […]

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