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Beethoven's most famous symphonies performed by excellent young orchestras and new compositions by award-winning composers: a free musical experience offered by Deutsche Welle

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  • Folge vom 23.09.2011
    Beethoven and more 2011 podcast #4: Experimental colors
    For Julian Rachlin, each of Beethoven's violin sonatas is a challenge, revealing new aspects of the composer. 'My favorites are the ones you don't hear so often,' Rachlin said.Ludwig van Beethoven  Sonata No. 4 in A Minor for violin and piano, op. 23: 1st  movement: Presto Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 17, 2011 It's unfortunate that Beethoven's A Minor Sonata of op. 23 is "not often heard," remarked Ferdinand Ries, one of Beethoven's piano students. Published in 1801 and dedicated to Count Moritz von Fries, the piece stood somewhat in the shadow of its companion work, the famous "Spring Sonata" of op. 24. Beethoven often worked simultaneously on contrasting works within a genre, but for many, this particular violin sonata seemed too odd and too bleak. Even today, the A Minor Sonata is relatively seldom played. Nonetheless, said Itamar Golan, "I have no idea why some works within a cycle become so much more popular than others." Julian Rachlin enjoys performing neglected works because they're often especially experimental, and he likes to draw out their power: "I always want to narrate or express something. And that includes narrating new things, with other colors than usual, in order to get the listener's attention or perhaps provoke a new understanding. I can do that with my instrument ten times better than I can verbally!" Author: Marita Berg / gsw Editor: Rick Fulker
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  • Folge vom 23.09.2011
    Beethoven and more 2011 podcast #3: With humor and charm
    Julian Rachlin is considered one of the most exciting violinists of our time. Playing Beethoven's early violin sonatas in the composer's childhood home, he draws out the composer's humorous charm.Ludwig van Beethoven Sonata No. 3 in E-flat Major for violin and piano, op. 12, No. 3: 1st movement: Allegro con spirito Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 17, 2011 When Beethoven wrote his first violin sonatas, the genre was just half a century old. Generally, the works were composed for piano with the violin lending an accompanying voice. Mozart, as an accomplished violinist, was the first to forge the duet form within the genre, letting the two instruments take the stage as equals. Beethoven wrote his violin sonatas in the same spirit, as the Viennese composer and music writer Ignaz von Mosel recognized: "Beethoven is a worthy follower of Mozart's, although a completely new spirit and taste breathes in his works!" "We've been working on the violin sonatas for years," said pianist Itamar Golan, "And although we probably know every single note, we always discover something new. It's a never-ending search." In the three sonatas published in op. 12, Beethoven largely sticks to the convention of the violin as accompaniment. But he begins to play with that tradition. "Okay, in the first and last movements of the third sonata, the piano does indeed have a brilliant upper hand, but the violin takes center stage more and more during the melodic passages," Golan added. Author: Marita Berg / gsw Editor: Rick Fulker
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  • Folge vom 23.09.2011
    Beethoven and more 2011 podcast #2: Playful and relaxed
    The early violin sonatas are 'something wonderful,' says violinist Julian Rachlin. Beethoven was at the very start of his career - a bit cheeky and going his own way.Ludwig van Beethoven Sonata No. 2 in A Major for violin and piano, op. 12, No. 2: 3rd movement: Allegro piacevole Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 18, 2011 In his early violin sonatas of op. 12, Beethoven experiments cautiously with giving equal treatment to piano and violin. He puts the spotlight on the violin during longer melodic passages in the slow movements but for stretches in the energetic opening and closing movements, relegates it to the role of an accompanist. One exception comes in the third movement of his Sonata No. 2, which lacks the exuberance of the other sonatas' closers. Instead, we hear a cheerful, playful but also relaxed rondo with the two instruments tossing the ball back and forth. And even though the composer gives the "final word" to the piano here, he seems to do so with a wink. "That's just the fascinating thing about Beethoven - his humor," said Itamar Golan. "Of course it's clear he intended it to be funny. Maybe it's what Germans call Rhineland humor. But his brand of humor is often so subtle, so much in the background, that the first time you play or hear the works, you may not pick up on what he really meant." Author: Marita Berg / gsw Editor: Rick Fulker
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  • Folge vom 23.09.2011
    Beethoven and more 2011 podcast #1: Young and fresh
    Performing all ten of Beethoven's violin sonatas is a dream come true for Julian Rachlin and Itamar Golan. Their favorites include the early sonatas, which show 'something wonderful, something naive, something pure.'Ludwig van Beethoven Sonata No. 1 in D Major for violin and piano, op. 12, No. 1: 3rd movement: Rondo. Allegro Julian Rachlin, violin Itamar Golan, piano MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 17, 2011 The duo of violinist Julian Rachlin and pianist Itamar Golan told DW, "Playing Beethoven in the house and city where he was born is a huge honor, very demanding and spectacular." In early 1799, when Ludwig van Beethoven took his first stab at publishing works for violin with the three violin sonatas of opus 12, he dedicated them to the composer Antonio Salieri. New on the scene and unknown in Vienna, Beethoven was out to make a name for himself by getting in with Salieri. That most influential man in Vienna's music scene would have been able to open many doors for the young composer. To Beethoven's contemporaries, these early works brimmed with new and unusual sounds. Critics at the time observed, "It's undeniable that Mister Beethoven is going his own way - but what a bizarre way it is indeed!" For Julian Rachlin, it's no wonder that Beethoven's contemporaries could only shake their heads. "Beethoven was a young and wild guy with revolutionary potential. It's the same as in the past century, when people got into a fuss about the new rhythms of rock and roll. The syncopations in this rondo set his contemporaries to stomping their feet." Author: Marita Berg / gsw Editor: Rick Fulker
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