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Wydawnictwo: Haenssler
Nr katalogowy: HC 17029
Nośnik: 1 CD
Data wydania: marzec 2017
EAN: 881488170290
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Epoka muzyczna: klasycyzm
Obszar (język): niemiecki
Instrumenty: gitara
Rodzaj: duo

Beethoven: For two guitars

Haenssler - HC 17029
John Schneiderman, guitar & terz guitar
Yamaya Duo
Variations, Op. 3 from Septet, Op. 20
Rondo from Rondo for Violin & Piano, WoO 41
Andante, Op. 5 from Quartet, Op. 59 No. 3
Variations and Rondo, Op. 155
from Piano Sonata, Op. 26
Variations, Op. 4 from Quartet, Op. 18 No. 3
Andante from Piano Sonata, Op. 28
Four Waltzes from Six Waltzes for Piano, Anh.14
Fantasy, Op. 157 from Piano Sonata, WoO 69
‘My humble Baron! Take care, that the guitarist still comes to me today…’

So writes the 28 year-old Beethoven in 1798/9 in a note to his trusted friend Baron Nikolaus Zmeskall, imploring him to ask their friend Karl Friedrich Amenda to send singer/guitarist acquaintance Gottfried Heinrich Mylich to visit him. Among his earliest friends in newly arrived Vienna, Beethoven had both personal and professional relationships with guitarists including Raimund von Wetzlar (of whom he wrote ‘plays the guitar beautifully and with feeling’), Austrian government official and musicologist Raphael Georg Kiesewetter, Countess Maria Wilhelmine von Thun (dedicatee of Beethoven’s Piano Trio Op. 11, described as ‘one of our best guitarists’). Besides these affable friendships, Beethoven also pursued love interests with women who had connections to the guitar, including Antonie Brentano (accomplished amateur pianist and guitarist), Therese Malfatti (daughter of Beethoven’s physician whose sister was a guitarist and for whom Beethoven was to send a guitar part to a song), Countess Maria Carolina Anna von Thun (daughter of Maria Wilhelmine, and said to [excel] as a singer and guitarist’), and Regina Hitzelberger-Lang (‘A proficient guitarist and singer’). Despite, or maybe because of Beethoven’s acquaintance with casual guitarists, he did not compose for the guitar: perhaps his encroaching hearing loss did not enable him to value guitar performances, perhaps the instrument was not sonorous enough for his interests, or perhaps he did not cultivate the direct personal associations with professional players necessary to master an unfamiliar medium. His four compositions for mandolin and harpsichord of 1796 are a natural result of his experience with string writing prompted by personal patronage. Alongside informal awareness of the guitar, professional virtuoso performers also moved within Beethoven’s circle in immediate and indirect contact.

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