Quirine Viersen, Silke Avenhaus - Inspired by Van Beethoven, Martinü, Hindemith (2003)
BAND/ARTIST: Quirine Viersen, Silke Avenhaus
- Title: Inspired by Van Beethoven, Martinü, Hindemith
- Year Of Release: 2003
- Label: Etcetera
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:52:58
- Total Size: 220 mb
- WebSite: Album Preview
Tracklist
01. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Thema - Allegretto
02. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation I
03. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation II
04. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation III
05. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation IV
06. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation V
07. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation VI
08. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation VII
09. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation VIII
10. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation IX
11. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation X - Adagio
12. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation XI - Poco adagio, quasi andante
13. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation XII - Allegro
14. Variations sur un thème Slovaque, H.378: Thème
15. Variations sur un thème Slovaque, H.378: Variation I - Moderato
16. Variations sur un thème Slovaque, H.378: Variation II - Poco allegro
17. Variations sur un thème Slovaque, H.378: Variation III - Moderato
18. Variations sur un thème Slovaque, H.378: Variation IV - Scherzo: Allegretto - Poco andante
19. Variations sur un thème Slovaque, H.378: Variation V - Allegro
20. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Thema - Allegretto
21. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation I
22. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation II
23. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation III
24. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation IV
25. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation V
26. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation VI
27. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation VII
28. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation VIII
29. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation IX
30. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation X - Allegro
31. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation XI - Adagio
32. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation XII - Allegro
33. A Frog He Went A-Courting - Variations on a Traditional English Song: I Mässig schnell
34. A Frog He Went A-Courting - Variations on a Traditional English Song: II MM - 96
35. A Frog He Went A-Courting - Variations on a Traditional English Song: III
36. A Frog He Went A-Courting - Variations on a Traditional English Song: IV
37. A Frog He Went A-Courting - Variations on a Traditional English Song: V - Allegro agitato
38. A Frog He Went A-Courting - Variations on a Traditional English Song: VI
39. A Frog He Went A-Courting - Variations on a Traditional English Song: VII - Jig
40. A Frog He Went A-Courting - Variations on a Traditional English Song: VIII
41. A Frog He Went A-Courting - Variations on a Traditional English Song: IX
42. A Frog He Went A-Courting - Variations on a Traditional English Song: X - Allegro molto
43. A Frog He Went A-Courting - Variations on a Traditional English Song: XI
44. A Frog He Went A-Courting - Variations on a Traditional English Song: XII
45. A Frog He Went A-Courting - Variations on a Traditional English Song: XIII - Mässig Schnell
46. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Thema - Andante
47. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation I
48. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation II
49. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation III
50. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation IV
51. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation V - Si prenda il tempo un poco più vivace
52. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation VI - Adagio
54. Variations on a Theme of Rossini, H.290: Poco allegro
55. Variations on a Theme of Rossini, H.290: Variation I - Poco Allegro
56. Variations on a Theme of Rossini, H.290: Variation II - Poco pìu allegro
57. Variations on a Theme of Rossini, H.290: Variation III - Andante
58. Variations on a Theme of Rossini, H.290: Variation IV - Allegro - Vivo - Moderato maestoso
Composing variations on borrowed themes has long been a favorite pastime of composers because the form's openness invites spontaneous invention, clever parodies, and quick mood shifts. Beethoven's variations on themes by Handel and Mozart are the most transparent examples on this disc, for their profusion of ideas, surprising manipulations of style, and chimerical expressions go to the source of the form: the art of improvisation, which was once an indispensable tool but almost forgotten after the nineteenth century. The sets of variations by Hindemith and Martinu are less clearly illustrative of the genre, since their moods are more ambiguous and puzzling; and the complexities of the modernist idiom blur distinctions of key and character, and undercut the idea that variations should be strikingly contrasted and more stylistically playful. Cellist Quirine Viersen and pianist Silke Avenhaus present these works with abundant charm and pleasant sound, and their performances are first-rate. However, in selecting these pieces to demonstrate how the composers derived inspiration from their chosen themes, they have only provided a vague conceit to unify the album. Much more obvious and educational are the differences between Beethoven's brilliant use of the form and the duller results produced by Hindemith and Martinu, for lack of true variety, wit, and the improvisational spirit of the practice.
01. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Thema - Allegretto
02. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation I
03. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation II
04. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation III
05. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation IV
06. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation V
07. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation VI
08. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation VII
09. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation VIII
10. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation IX
11. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation X - Adagio
12. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation XI - Poco adagio, quasi andante
13. 12 Variations on "Ein Mädchen oder Weibchen", Op. 66: Variation XII - Allegro
14. Variations sur un thème Slovaque, H.378: Thème
15. Variations sur un thème Slovaque, H.378: Variation I - Moderato
16. Variations sur un thème Slovaque, H.378: Variation II - Poco allegro
17. Variations sur un thème Slovaque, H.378: Variation III - Moderato
18. Variations sur un thème Slovaque, H.378: Variation IV - Scherzo: Allegretto - Poco andante
19. Variations sur un thème Slovaque, H.378: Variation V - Allegro
20. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Thema - Allegretto
21. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation I
22. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation II
23. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation III
24. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation IV
25. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation V
26. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation VI
27. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation VII
28. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation VIII
29. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation IX
30. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation X - Allegro
31. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation XI - Adagio
32. 12 Variations on "See the Conqu'ring Hero Comes", WoO 45, G Major: Variation XII - Allegro
33. A Frog He Went A-Courting - Variations on a Traditional English Song: I Mässig schnell
34. A Frog He Went A-Courting - Variations on a Traditional English Song: II MM - 96
35. A Frog He Went A-Courting - Variations on a Traditional English Song: III
36. A Frog He Went A-Courting - Variations on a Traditional English Song: IV
37. A Frog He Went A-Courting - Variations on a Traditional English Song: V - Allegro agitato
38. A Frog He Went A-Courting - Variations on a Traditional English Song: VI
39. A Frog He Went A-Courting - Variations on a Traditional English Song: VII - Jig
40. A Frog He Went A-Courting - Variations on a Traditional English Song: VIII
41. A Frog He Went A-Courting - Variations on a Traditional English Song: IX
42. A Frog He Went A-Courting - Variations on a Traditional English Song: X - Allegro molto
43. A Frog He Went A-Courting - Variations on a Traditional English Song: XI
44. A Frog He Went A-Courting - Variations on a Traditional English Song: XII
45. A Frog He Went A-Courting - Variations on a Traditional English Song: XIII - Mässig Schnell
46. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Thema - Andante
47. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation I
48. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation II
49. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation III
50. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation IV
51. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation V - Si prenda il tempo un poco più vivace
52. Seven Variations on "Bei Männern, welche Liebe fühlen", WoO 46: Variation VI - Adagio
54. Variations on a Theme of Rossini, H.290: Poco allegro
55. Variations on a Theme of Rossini, H.290: Variation I - Poco Allegro
56. Variations on a Theme of Rossini, H.290: Variation II - Poco pìu allegro
57. Variations on a Theme of Rossini, H.290: Variation III - Andante
58. Variations on a Theme of Rossini, H.290: Variation IV - Allegro - Vivo - Moderato maestoso
Composing variations on borrowed themes has long been a favorite pastime of composers because the form's openness invites spontaneous invention, clever parodies, and quick mood shifts. Beethoven's variations on themes by Handel and Mozart are the most transparent examples on this disc, for their profusion of ideas, surprising manipulations of style, and chimerical expressions go to the source of the form: the art of improvisation, which was once an indispensable tool but almost forgotten after the nineteenth century. The sets of variations by Hindemith and Martinu are less clearly illustrative of the genre, since their moods are more ambiguous and puzzling; and the complexities of the modernist idiom blur distinctions of key and character, and undercut the idea that variations should be strikingly contrasted and more stylistically playful. Cellist Quirine Viersen and pianist Silke Avenhaus present these works with abundant charm and pleasant sound, and their performances are first-rate. However, in selecting these pieces to demonstrate how the composers derived inspiration from their chosen themes, they have only provided a vague conceit to unify the album. Much more obvious and educational are the differences between Beethoven's brilliant use of the form and the duller results produced by Hindemith and Martinu, for lack of true variety, wit, and the improvisational spirit of the practice.
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