Handel/Variations

[cbarb]

Much on Handel recently.

I recently taped Beethoven's Variations on a Theme from Handel for cello and piano. Very nice. I don't know when he wrote it, and I can't discern by listening. Anybody know?

This was not the only piece he wrote formally attributed to a theme from Handel, was it?

[Immortal Beloved]

Originally posted by cbarb:
Much on Handel recently.

I recently taped Beethoven's Variations on a Theme from Handel for cello and piano. Very nice. I don't know when he wrote it, and I can't discern by listening. Anybody know?

This was not the only piece he wrote formally attributed to a theme from Handel, was it?

I have no idea about that peice.

[Peter]

Originally posted by cbarb:
Much on Handel recently.

I recently taped Beethoven's Variations on a Theme from Handel for cello and piano. Very nice. I don't know when he wrote it, and I can't discern by listening. Anybody know?

This was not the only piece he wrote formally attributed to a theme from Handel, was it?

The Variations on 'see the conqu'ring hero comes' from Handel's Judas Maccabeus were written in 1796 and published the following year with a dedication to Princess Lichnowsky. Beethoven also arranged the fugue from the overture to Handel's Solomon for string quartet in 1798 (Hess 36).

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'Man know thyself'

[This message has been edited by Peter (edited 06-18-2001).]

[Rod]

Originally posted by Peter:
The Variations on 'see the conqu'ring hero comes' from Handel's Judas Maccabeus were written in 1796 and published the following year with a dedication to Princess Lichnowsky. Beethoven also arranged the fugue from the overture to Handel's Solomon for string quartet in 1798 (Hess 36).

An academic point - 'See...' was originally written for the oratario 'Joshua', but was such a success that he used it subsequently in his following oratario 'Judas...'. Handel was aware that the chorus was not a particularly outstanding one by his own standards, but he knew the English would relish it, which turned out to be the case, as it captured the flavour of the moment.

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"If I were but of noble birth..." - Rod Corkin

[This message has been edited by Rod (edited 06-19-2001).]

[Chris]

I'm upset because several months ago, I bought a set of the Beethoven cello sonatas with Yo-Yo Ma and Emanuel Ax. The set also includes the two sets variations on themes from The Magic Flute. It's all wonderful, but the set was SUPPOSED to also include the Handel variations we are talking about, but they were cut so the set would fit on two CD's. The only way to get them is to buy the set on cassette tape (yeah, right).

[Peter]

Originally posted by Chris:
The only way to get them is to buy the set on cassette tape (yeah, right).

I think the Handel variations are included in the complete Beethoven works for 'cello and piano - Wallfisch/York EMI CD-EMXD2506

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'Man know thyself'

[Michael]

The Handel variations, plus the two Mozart ones, are also included on the Naxos set of the cello sonatas, on two CD's.
(Naxos 8.550478 and 8.550479) both available separately. 8.550479 contains the Opus 5 works and all the variations.

Michael

[Chris]

Originally posted by Peter:
I think the Handel variations are included in the complete Beethoven works for 'cello and piano - Wallfisch/York EMI CD-EMXD2506

I was just talking about the version they recorded for that set, actually.

[cbarb]

Originally posted by Peter:
The Variations on 'see the conqu'ring hero comes' from Handel's Judas Maccabeus were written in 1796 and published the following year with a dedication to Princess Lichnowsky. Beethoven also arranged the fugue from the overture to Handel's Solomon for string quartet in 1798 (Hess 36).

[Claudie MICAULT]

I have a good version in 2 CD of the complete cello-piano works :
Pierre FOURNIER Cellist, Wilhelm KEMPFF Pianist, DEUTSCH GRAMMOPHON 453 013-2. The 12 variations on Judas are close to the opus 5 . B. wrote this set of variations thinking about the famous cellist DUPORT (which cello is no the in Rostropovitch's hands).

[PDG]

I prefer the op.5 sonatas to the op.102. The earlier ones seem easier on the ear & more melodic. In fact, apart from the fugue of op.102 no.2, I find it difficult to tell that the respective pairings were written 20 years apart! The op.5 have a wonderful freshness & charm which I find to be slightly lacking in the op.102.