Ludwig Van Beethoven (1770-1827)

Kurz ist der Schmerz, WoO 166 (1815)

Members of the Kammerchor der Berliner Singakademie

Deutsche Gramophon 453 794-2

CD 2 Track 35

Brauchle, Linke, WoO 167 (1815)

CD 2 Track 36

Sonata No 4 in C for piano and cello, Op 102 (1815)

Mstislav Rostropowitsch (cello)

Svjatoslav Richter (piano)

Philips 464 677-2

CD 2 Tracks 1-2

An die ferne Geliebte, Op 98 (1816)

Peter Schreier (tenor)

Walter Olbertz (piano)

Berlin Classics BC 2082-2

Track 1

Piano Sonata No 28 in A, Op 101 (1815-16)

Wilhelm Kempff

Deutsche Gramophon 453 010-2

CD 1 Tracks 3-6.

Featuring two groundbreaking sonatas, the first ever song-cycle and two tiny canons.

Kurz ist der Schmerz, WoO 166 (1815)

Members of the Kammerchor der Berliner Singakademie

Deutsche Gramophon 453 794-2

CD 2 Track 35

Brauchle, Linke, WoO 167 (1815)

CD 2 Track 36

Sonata No 4 in C for piano and cello, Op 102 (1815)

Mstislav Rostropowitsch (cello)

Svjatoslav Richter (piano)

Philips 464 677-2

CD 2 Tracks 1-2

An die ferne Geliebte, Op 98 (1816)

Peter Schreier (tenor)

Walter Olbertz (piano)

Berlin Classics BC 2082-2

Track 1

Piano Sonata No 28 in A, Op 101 (1815-16)

Wilhelm Kempff

Deutsche Gramophon 453 010-2

CD 1 Tracks 3-6.

Featuring two groundbreaking sonatas, the first ever song-cycle and two tiny canons.

Chiling O'Guiry, No 5 (Six National Airs Varied for piano with flute or violin, Op 105)

Patrick Gallois (flute)

Cecile Licad (piano)

Deutsche Gramophon 453 772-2 - CD 6 Tr 5

Eleven New Bagatelles for piano, Op 119

Rudolf Buchbinder (piano)

Warner Classics 0927-40820-2 - Trs 8-18

Duet for two violins, WoO 34

Lukas Hagen, Rainer Schmidt (violins)

Deutsche Gramophon 453 772-2 - CD 5 Tr 21

Bundeslied, Op 122 (Song of Fellowship)

Ambrosian Singers

London Symphony Orchestra

Michael Tilson Thomas (conductor)

Deutsche Gramophon 453 794-2 - Tr 3

Piano Sonata No 32 in C minor, Op 111

Maurizio Pollini (piano)

DG 449 740-2 - CD 2 Trs 7-8.

With a seven-bar fugue for two violins, plus his last and possibly greatest piano sonata.

Chiling O'Guiry, No 5 (Six National Airs Varied for piano with flute or violin, Op 105)

Patrick Gallois (flute)

Cecile Licad (piano)

Deutsche Gramophon 453 772-2 - CD 6 Tr 5

Eleven New Bagatelles for piano, Op 119

Rudolf Buchbinder (piano)

Warner Classics 0927-40820-2 - Trs 8-18

Duet for two violins, WoO 34

Lukas Hagen, Rainer Schmidt (violins)

Deutsche Gramophon 453 772-2 - CD 5 Tr 21

Bundeslied, Op 122 (Song of Fellowship)

Ambrosian Singers

London Symphony Orchestra

Michael Tilson Thomas (conductor)

Deutsche Gramophon 453 794-2 - Tr 3

Piano Sonata No 32 in C minor, Op 111

Maurizio Pollini (piano)

DG 449 740-2 - CD 2 Trs 7-8.

With a seven-bar fugue for two violins, plus his last and possibly greatest piano sonata.

33 Variations on a Waltz by A Diabelli, Op 120 (1819-23)

Charles Rosen (piano)

Carlton Classics 30367 00112 - Trs 1-34.

Donald Macleod talks to Charles Rosen, who tells the story behind the Diabelli Variations.

33 Variations on a Waltz by A Diabelli, Op 120 (1819-23)

Charles Rosen (piano)

Carlton Classics 30367 00112 - Trs 1-34.

Donald Macleod talks to Charles Rosen, who tells the story behind the Diabelli Variations.

Plus Beethoven's last set of piano bagatelles, played on his own fortepiano - a gift from Thomas Broadwood of London.

Falstafferel, WoO184 (1823)

Members of the Kammerchor der Berliner Singakademie and the Berliner Solisten

Deutsche Gramophon 453 794-2

CD 2 Track 52

Gloria (Missa Solemnis - in D for four solo voices, chorus, orchestra and organ, Op 123, 1819-23)

Eva Mei (soprano)

Marjana Lipovsek (contralto)

Anthony Rolfe Johnson (tenor)

Robert Holl (bass)

Chamber Orchestra of Europe

Arnold Schoenberg Choir (chorus master: Erwin Ortner)

Nikolaus Harnoncourt (conductor)

Warner Classics 2564 63779-2

CD 13 Track 2

Six Bagatelles, Op 126 (1823-4)

Melvyn Tan (fortepiano)

EMI 7 54526 2

Tracks 21-26

Symphony No 9 in D minor, Op 125 - 1822-4 (1st mvt)

Allegro ma non troppo, un poco maestoso

Royal Liverpool Philharmonic Orchestra

Charles Mackerras (conductor)

EMI CD-EMX 2186

Track 1.

With movements from the iconic Missa Solemnis and Ninth Symphony.

Plus Beethoven's last set of piano bagatelles, played on his own fortepiano - a gift from Thomas Broadwood of London.

Falstafferel, WoO184 (1823)

Members of the Kammerchor der Berliner Singakademie and the Berliner Solisten

Deutsche Gramophon 453 794-2

CD 2 Track 52

Gloria (Missa Solemnis - in D for four solo voices, chorus, orchestra and organ, Op 123, 1819-23)

Eva Mei (soprano)

Marjana Lipovsek (contralto)

Anthony Rolfe Johnson (tenor)

Robert Holl (bass)

Chamber Orchestra of Europe

Arnold Schoenberg Choir (chorus master: Erwin Ortner)

Nikolaus Harnoncourt (conductor)

Warner Classics 2564 63779-2

CD 13 Track 2

Six Bagatelles, Op 126 (1823-4)

Melvyn Tan (fortepiano)

EMI 7 54526 2

Tracks 21-26

Symphony No 9 in D minor, Op 125 - 1822-4 (1st mvt)

Allegro ma non troppo, un poco maestoso

Royal Liverpool Philharmonic Orchestra

Charles Mackerras (conductor)

EMI CD-EMX 2186

Track 1.

With movements from the iconic Missa Solemnis and Ninth Symphony.

The programme includes the last movement of Beethoven's last quartet, along with the canon that inspired it. And there is a complete performance of the Quartet in E flat, in a celebrated showcase by the Guarneri Quartet.

Da ist das Werk, WoO 197 (1826)

Members of the Kammerchor der Berliner Singakademie

Deutsche Gramophon 453 794-2

CD 2 Track 64

Es muss sein, WoO 196 (1826)

String Quartet No 16 in F, Op 135 - 1826 (finale)

Takacs Quartet

Decca 470 849-2

CD 2 Track 9

Ecossaise in E flat, WoO 86; Allegretto quasi andante in G minor, WoO 61a; Waltz in D, WoO 85

Gianluca Cascioli (piano)

Deutsche Gramophon 453 733-2

CD2 Tracks 24, 19, 23

String Quartet No 12 in E flat, Op 127 (1825)

CD 2 Tracks 8-10

CD 3 Track 1.

Donald Macleod looks at Beethoven's last two years, which brought his late string quartets

The programme includes the last movement of Beethoven's last quartet, along with the canon that inspired it. And there is a complete performance of the Quartet in E flat, in a celebrated showcase by the Guarneri Quartet.

Da ist das Werk, WoO 197 (1826)

Members of the Kammerchor der Berliner Singakademie

Deutsche Gramophon 453 794-2

CD 2 Track 64

Es muss sein, WoO 196 (1826)

String Quartet No 16 in F, Op 135 - 1826 (finale)

Takacs Quartet

Decca 470 849-2

CD 2 Track 9

Ecossaise in E flat, WoO 86; Allegretto quasi andante in G minor, WoO 61a; Waltz in D, WoO 85

Gianluca Cascioli (piano)

Deutsche Gramophon 453 733-2

CD2 Tracks 24, 19, 23

String Quartet No 12 in E flat, Op 127 (1825)

CD 2 Tracks 8-10

CD 3 Track 1.

Donald Macleod looks at Beethoven's last two years, which brought his late string quartets

By then, aged 33, Beethoven's hearing had already begun to deteriorate and the previous year he wrote of his despair and thoughts of suicide. It marked a change in his music and a new 'heroic style' emerged, reflected in the virtuosic Waldstein Sonata and in the Eroica Symphony, originally written in Napoleon's honour. In the second programme, Donald reflects on 1809, the year Napoleon invaded Vienna. We'll hear from the Les Adieux Piano Sonata and majestic Emperor Piano Concerto, both of which Beethoven wrote for his friend and patron, Archduke Rudolph.

Beethoven had numerous amorous encounters over the years, but things came to a head in 1812. That year he wrote a love letter to his 'Immortal Beloved' whose identity has given rise to endless speculation. In the third programme Donald introduces songs written for the woman thought to be the intended recipient, Antonie Brentano, and ends the programme with the final major work of that year, his 8th symphony.

Beethoven's only opera Fidelio is one of the most intense and moving of all music dramas, a celebration of the triumph of the human spirit over adversity, and it forms the focus of the fourth programme. In the fifth and final programme, Donald looks at 1822. The increasingly reclusive composer wrote his last piano sonata that year and his Handelian overture The Consecration of the House. But his greatest project, which took some five years to complete, was the Missa Solemnis, his largest choral work and for Beethoven, the supreme challenge of his life.

Donald Macleod on the year 1803, when Beethoven began to accept his increasing deafness.

Donald Macleod focuses on the year 1809, when Napoleon invaded Vienna.

Donald Macleod focuses on key music and events in Beethoven's life from 1812.

Donald Macleod explores Beethoven's opera Fidelio, from the year 1814.

Donald Macleod explores key music and events in Beethoven's life from 1822.

Donald Macleod explores Beethoven's relationship with friends, family and women.

Donald Macleod introduces music for a friend and a potential love interest of Beethoven's.

Thanks to the occupation of Vienna by Napoleon's troops in 1809, the citizens suffered great hardships including rising prices, crippling taxes and food shortages. Beethoven had just negotiated a comfortable financial package from three of his patrons when soaring inflation caused its value to drop dramatically and he struggled to make ends meet. Donald Macleod looks at works written during these straitened circumstances, including the incidental music to Goethe's play Egmont in which Beethoven gives his heartfelt response to the invasion. Also, the Piano Fantasia, one of a group of solo piano works written that same year, which gives some indication of the remarkable skill Beethoven was renowned for as an improviser. And the piano trio named after his patron and faithful friend, Archduke Rudolph Rudolph, begun in 1810, and from the late summer of that year, a new string quartet, full of extreme anguish and compressed intensity, aptly named 'Serioso'.

Donald Macleod introduces music written during the aftermath of the Napoleonic invasion.

Donald Macleod considers two different sides of Beethoven's character.

Donald Macleod introduces music from 1812 - a year of family crises and emotional torment.

By 1792, Beethoven felt he needed to move on from the musical opportunities offered by his native city of Bonn. Wanting to stretch his wings and pursue his career as a composer, he turned his attention to the capital of the Austro-Hungarian Empire, Vienna. Beethoven didn't launch himself straight into the Viennese public eye as a composer, but instead made his initial impression there as a pianist, performing one of his early concertos.

Life in Vienna was hard to begin with, with Beethoven relying on financial support from the Elector in Bonn. This eventually dried up and Beethoven was fortunate that Prince Lichnowsky came to his aid, allowing the composer to move into the Prince's house, and introducing him to the leading musicians in Vienna. Although Beethoven often found his relationship with the Prince stifling, he dedicated a set of three Piano Trios to him, including the Piano Trio No.1 in E flat.

Beethoven had now launched himself into publication. This was a carefully timed event, so that not only was the Viennese public treated to his opus 1 Piano Trios, and opus 3 String Trios, but also his set of three Piano Sonatas opus 2, including the Sonata no.1 in F minor. The press declared that with the publication of these three sonatas, Beethoven was now assured a place in the Holy of Holies of Art.

Donald Macleod explores 1795, when Beethoven was proclaimed the 'next Mozart' in Vienna.

Beethoven was now quite successful by 1801, supported by a most generous patron Prince Lichnowsky, who had previously been an important patron of Mozart's. Commissions meant that Beethoven was now being taken seriously as a composer, and one such commission was for the stage. This provided Beethoven with the opportunity of writing ballet music for The Creatures of Prometheus, which proved so popular it was performed many times that year.

Beethoven was not above criticism though, and was aware that he still needed to develop his compositional skills and technique. This included having lessons from the major Viennese composer Antonio Salieri, who set the younger composer exercises in writing for voice. A number of these unaccompanied partsongs survive, including Nei campi e nelle selve, WoO 99.

At this time however, there were increasing signs that Beethoven was suffering from hearing difficulties. His friends noticed that Beethoven would often have cotton wool soaked in almond oil protruding from his ears. This, combined with other periods of illness, could have been one reason for Beethoven turning to religious songs, including composing The Glory of God in Nature opus 48.

1801 was also a time for composing further piano sonatas, numbers twelve to fifteen. One of Beethoven's favourite piano sonatas would be written during this period: the Piano Sonata No.15 in D major, otherwise known as the Pastoral.

Donald Macleod surveys Beethoven's career in 1801, including the early signs of deafness.

The music of Beethoven between 1804-5, was now travelling abroad, including ten performances of major works in England. This was a period when Beethoven would turn his attention to writing an opera, Fidelio, but this process was protracted, with long breaks to focus upon other works. One work which he turned to during this period, was the Triple Concerto in C major opus 56.

A complicated love life would also impact upon Beethoven's time, including his relationship with Countess Josephine Deym. Although both parties cared for each other greatly, this relationship could never lead to marriage, as it would mean that the Countess would have to give up her title, and possibly lose her guardianship of her children. One song Beethoven dedicated to the Countess Josephine, is addressed to Hope, An die Hoffnung opus 32.

During this same period, Beethoven continued his exploration of piano sonatas, including one possibly conceived during a countryside walk. Beethoven and his pupil Ries were walking in some woods, when Ries noticed his tutor humming a number of passages. On returning home Beethoven raged on the keys of his keyboard, developing the finale of this new sonata, known today as the 'Appassionata', opus 57.

Donald Macleod explores the period 1804-5, when Beethoven turns to writing an opera.

The year 1814 was a significant time in European history, as the previous year the Duke of Wellington had won a decisive victory over Napoleon, and now the monarchs and statesmen of many countries all descended upon Vienna, re-drawing the map of Europe in the wake of the battle of Waterloo. Many composers at this time would compose patriotic works, and Beethoven was no exception, including his Wellington's Victory opus 91.

Wellington's Victory became an overnight success, and was performed many times in 1814, increasing Beethoven's profile with the general public of Vienna. Riding this wave of popularity, Beethoven didn't stop there, but went on to compose a number of other politically charged works, including a celebratory cantata, The Glorious Moment opus 136. Beethoven even wrote a one-off Polonaise opus 89, for the Russian Empress, who was one of the many monarchs in town. Empress Elisabeth Alexyevna was so pleased with the work, that she awarded Beethoven a gift of 50 ducats.

1814 did see the end of a five year gap, where Beethoven had composed nothing for the piano previously. It was a new Piano Sonata, opus 90, which he dedicated to Count Moritz von Lichnowsky, who'd been very active on Beethoven's part, in securing the composer a financial reward from the British contingent at the Congress of Vienna, for his Wellington's Victory.

Donald Macleod explores the Congress of Vienna, when Beethoven's music becomes political.

1820-2 was a period when Beethoven was consumed with composing, what he thought was his greatest work to date, the Missa Solemnis opus 123. This huge choral undertaking was like his opera, worked on over a long period, with breaks for the composer to focus upon other works. During this period, Beethoven returned to re-editing some Scottish folksongs for publication, including 'Music, Love and Wine', and 'Sally in our Alley'.

By this time however, Beethoven was often seen walking the streets of Vienna, ranting to himself, or singing at the top of his voice. He looked dishevelled, and boys would openly mock him in the street, although he couldn't hear them. Rossini and Weber both visited Beethoven, and was saddened to see the poor state they found him in. Rossini even tried to get the Austrian Court to step in and assist Beethoven financially, but this appeal was turned down, as Beethoven was considered a hopeless case, mentally unbalanced.

It was during this same period where Beethoven was seen walking the streets like a vagrant, and even arrested by the Police for peering into windows, that he interrupted his work on the Missa Solemnis to complete his final three piano sonatas. These piano works, including the Piano Sonata no.30 opus 109, pushed the boundaries of traditional sonata form, with none of the movements being what you'd expect.

Donald Macleod explores the period 1820-2, when Beethoven composes his final piano sonatas

If Bonn had had a child protection unit in the 1770s, its officers would probably have been frequent callers at 24 Rheingasse, the Beethoven family home. A neighbour might have heard little Ludwig calling out from the cellar where he had been locked by his drunkard father Johann, or witnessed one of the regular beatings Johann administered to 'encourage' his son to practice the piano. Yet from this abusive background, Ludwig van Beethoven emerged as the greatest musician of his age - the composer who absorbed the Classical legacy of Haydn and Mozart, then utterly transformed it. This week, Donald Macleod charts the course of this transformation in a series of five extended snapshots of Beethoven's life and work, from his first attempts at composition to the extraordinary productions of his final years.

Today's programme surveys Beethoven's last ten years in Bonn, before his permanent move to Vienna in 1792. Along with his father, the cast of characters includes his grandfather, also named Ludwig, a previous court kapellmeister; his teacher, Christian Gottlob Neefe, who spotted Beethoven's prodigious talent and did everything he could to foster it; his mother, whose death in 1787 left deep scars on the 16-year-old composer; Maximilian Franz, Elector of Cologne and Beethoven's employer in his post as a sprucely liveried court musician; Mozart, with whom Beethoven may or may not have studied briefly; and Papa Haydn, with whom Beethoven was to have an uneasy pupil-teacher relationship in Vienna. The musical soundtrack includes an early piano quartet that Beethoven would later mine for material when he came to write his first published piano sonatas, and two early masterpieces: an ambitious set of 24 Variations on an operatic air by Righini, and the Cantata on the Death of Emperor Joseph II, of which Brahms remarked, when the manuscript resurfaced almost a century later, 'it is Beethoven through and through'.

Donald Macleod explores Beethoven's apprentice years and presents neglected early works.

If Bonn had had a child protection unit in the 1770s, its officers would doubtless have been frequent callers at 24 Rheingasse, the Beethoven family home. A neighbour might have heard little Ludwig calling out from the cellar where he had been locked up by his drunkard father Johann, or witnessed one of the regular beatings Johann administered to 'encourage' his son to practice the piano. Yet from this abusive background, Ludwig van Beethoven emerged as the greatest musician of his age - the composer who absorbed the Classical legacy of Haydn and Mozart, then utterly transformed it. This week, Donald Macleod charts the course of this transformation in a series of five snapshots of Beethoven's life and work, from his first attempts at composition to the extraordinary productions of his final years.

Today's programme focuses on six months in 1802, when Beethoven, on doctor's orders, took a rest-cure in the tiny, picturesque spa-town of Heiligenstadt. For some years the composer's hearing had been deteriorating but, by 1801, things had started to reach crisis point. In June of that year Beethoven wrote a despairing letter to his childhood friend Franz Wegeler, now a distinguished medic. Wegeler recommended a change of doctor, and it was the new man - Johann Adam Schmidt - who advised Beethoven to abscond to Heiligenstadt to give his hearing a rest away from the noisy bustle of Vienna. Here Beethoven wrote the document known by posterity as the Heiligenstadt Testament - a letter to his brothers, to be read only after his death, in which he expressed despair at his hearing loss but determination nonetheless to fulfil what he felt to be his artistic destiny. His productivity during the summer of 1802 bears witness to that determination; here he wrote or completed his 2nd Symphony, the three violin sonatas Op 30, two of the piano sonatas Op 31, and more besides.

Donald Macleod explores how Beethoven's acceptance of his deafness spawned masterpieces.

If Bonn had had a child protection unit in the 1770s, its officers would doubtless have been frequent callers at 24 Rheingasse, the Beethoven family home. A neighbour might have heard little Ludwig calling out from the cellar where he had been locked up by his drunkard father Johann, or witnessed one of the regular beatings Johann administered to 'encourage' his son to practice the piano. Yet from this abusive background, Ludwig van Beethoven emerged as the greatest musician of his age - the composer who absorbed the Classical legacy of Haydn and Mozart, then utterly transformed it. This week, Donald Macleod charts the course of this transformation in a series of five snapshots of Beethoven's life and work, from his first attempts at composition to the extraordinary productions of his final years.

Today's programme homes in on a single day, the 22nd of December 1808, when Beethoven mounted an extraordinary 'benefit' concert - that is, a concert for his own financial benefit, in the Theater an der Wien. He had been petitioning the authorities for months for permission to do this, and eventually he took the only date he could get, despite the fact that it clashed with a major charity event being held on the same evening in another theatre. That, though, turned out to be the least of Beethoven's problems, foremost of which was the temperature inside the auditorium, which he couldn't afford to heat. Then there was the programme; four hours' worth of the most challenging new music - difficult for an audience under the most favourable of conditions, let along listening inside an icebox. To make matters worse, Beethoven had fallen out with the orchestral musicians at a previous concert, and they refused to rehearse with him. The evening concluded with the Choral Fantasia, which the composer had hastily finished off to provide a suitably grand conclusion to the proceedings. In the event, the performance came so badly unstuck that Beethoven had to stop the music halfway through and start again from the top. As one contemporary who shivered his way through the whole evening observed, 'one can easily have too much of a good thing'.

Donald Macleod discusses a special four-hour concert Beethoven mounted in 1808.

If Bonn had had a child protection unit in the 1770s, its officers would doubtless have been frequent callers at 24 Rheingasse, the Beethoven family home. A neighbour might have heard little Ludwig calling out from the cellar where he had been locked up by his drunkard father Johann, or witnessed one of the regular beatings Johann administered to 'encourage' his son to practice the piano. Yet from this abusive background, Ludwig van Beethoven emerged as the greatest musician of his age - the composer who absorbed the Classical legacy of Haydn and Mozart, then utterly transformed it. This week, Donald Macleod charts the course of this transformation in a series of five snapshots of Beethoven's life and work, from his first attempts at composition to the extraordinary productions of his final years.

Today's programme charts one of the most extraordinary episodes in Beethoven's life, from late 1813 to the end of the following year. For the previous decade, Europe had been dogged by the Napoleonic Wars. Now Napoleon's fortunes were beginning to unravel, and in June 1813, Austria abandoned its neutrality and joined the alliance against the French. In the same month, the French army, fighting under Napoleon's brother, Joseph I, was defeated by Wellington at the Battle of Vitoria. Vienna was awash with a tide of patriotic fervour, and that's when the imperial court mechanician, Johann Nepomuk M䀀lzel, came to Beethoven with an unusual proposal - would he compose a patriotic piece celebrating Wellington's victory? The work was originally to be written not for orchestra but for the Panharmonicon, a bellows-powered contraption-in-a-case of M䀀lzel's invention that could reproduce the sounds of a military band. Beethoven agreed, but in the event he produced an orchestral version instead. Premi耀red at a public concert in December 1813, this fatuous work became an immediate sensation, and several more performances followed. By the law of unexpected consequences, when the management of the Viennese court opera were looking for a new production, they turned to the most successful composer of the moment: Beethoven. They approached him with a view to staging his opera Fidelio, and he agreed, but only on the basis that he would be able to revise it completely - in the process, creating the version most widely performed to this day.

How the success of Beethoven's 'potboiler' led to the revised version of his opera Fidelio

If Bonn had had a child protection unit in the 1770s, its officers would doubtless have been frequent callers at 24 Rheingasse, the Beethoven family home. A neighbour might have heard little Ludwig calling out from the cellar where he had been locked up by his drunkard father Johann, or witnessed one of the regular beatings Johann administered to 'encourage' his son to practice the piano. Yet from this abusive background, Ludwig van Beethoven emerged as the greatest musician of his age - the composer who absorbed the Classical legacy of Haydn and Mozart, then utterly transformed it. This week, Donald Macleod charts the course of this transformation in a series of five snapshots of Beethoven's life and work, from his first attempts at composition to the extraordinary productions of his final years.

Today's programme picks up the trail in the early months of 1819, with Beethoven planning to write a High Mass for the installation of his patron and pupil, Archduke Rudolph, as Archbishop of Olmütz the following March. In the event, the scale of the work grew so far beyond his original conception that Beethoven overshot his self-imposed deadline by three years. Meanwhile, another commission had come along. The publisher, Anton Diabelli, wanted to bring out a patriotic collection of piano variations on a light-hearted waltz of his own composition, to be contributed by the 50 most celebrated composers and virtuosi of the Austrian empire. Each composer was to provide a single variation, Beethoven included. Something about the project evidently fascinated him because, instead of one variation, he ultimately came up with 33 - his largest and many would say greatest piano work. So he broke off work on the mass to write the first two-thirds of the Diabellis. He then set those aside for another new commission, to compose three more piano sonatas; they would be his last. Only then, in 1822, did he return to the mass, when he also started work on the 9th Symphony. That too was set aside while he completed the Diabelli Variations, after which he polished off the 9th. Confused? You won't be after today's show.

Donald Macleod unpicks the overlapping origins of three late Beethoven masterpieces.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similar to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

Countess Josephine had been a pupil of Beethoven's before her marriage to Count Joseph Deym. The count died in 1804, and what followed was a romantic entanglement between the grieving Countess and the composer. Ultimately nothing came of it for the Countess was concerned with the happiness and future of her family. If she had married Beethoven, a commoner, she'd have lost her title and the guardianship of her children. During this period of emotional turmoil Beethoven was working on his Fourth Piano Concerto. It was premiered in 1808 along with his Choral Fantasy for piano, choir and orchestra, and also his Fifth and Sixth Symphonies. Prior to this mammoth concert, in the spring of the previous year Beethoven met with the composer Muzio Clementi. Clementi was on a tour, and was keen to encounter Beethoven in order to negotiate taking on some of his works for publication. Clementi would publish amongst other things a symphony, a concerto and a set of quartets, bringing Beethoven's music to a new audience in London.

Six Ecossaises, WoO83

Jen? Jand　, piano

Piano Concerto No 4 in G major, Op 58

Alfred Brendel, piano

Vienna Philharmonic

Simon Rattle, conductor

Choral Fantasy in C minor for piano, choir and orchestra, Op 80

Maurizio Pollini, piano

Gabriele Lechner, soprano

Gretchen Eder, soprano

Elisabeth Mach, contralto

Jorge Pita, tenor

Andrea Esders, tenor

Gerhard Eder, bass

Chorus of the Vienna State Opera

Claudio Abbado, conductor

Producer Luke Whitlock.

Donald Macleod looks at the Fourth Concerto and how Beethoven found a publisher in London.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similar to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

Countess Josephine had been a pupil of Beethoven's before her marriage to Count Joseph Deym. The count died in 1804, and what followed was a romantic entanglement between the grieving Countess and the composer. Ultimately nothing came of it for the Countess was concerned with the happiness and future of her family. If she had married Beethoven, a commoner, she'd have lost her title and the guardianship of her children. During this period of emotional turmoil Beethoven was working on his Fourth Piano Concerto. It was premiered in 1808 along with his Choral Fantasy for piano, choir and orchestra, and also his Fifth and Sixth Symphonies. Prior to this mammoth concert, in the spring of the previous year Beethoven met with the composer Muzio Clementi. Clementi was on a tour, and was keen to encounter Beethoven in order to negotiate taking on some of his works for publication. Clementi would publish amongst other things a symphony, a concerto and a set of quartets, bringing Beethoven's music to a new audience in London.

Six Ecossaises, WoO83

Jen? Jand　, piano

Piano Concerto No 4 in G major, Op 58

Alfred Brendel, piano

Vienna Philharmonic

Simon Rattle, conductor

Choral Fantasy in C minor for piano, choir and orchestra, Op 80

Maurizio Pollini, piano

Gabriele Lechner, soprano

Gretchen Eder, soprano

Elisabeth Mach, contralto

Jorge Pita, tenor

Andrea Esders, tenor

Gerhard Eder, bass

Chorus of the Vienna State Opera

Claudio Abbado, conductor

Producer Luke Whitlock.

Donald Macleod looks at the Fourth Concerto and how Beethoven found a publisher in London.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similarly to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

During Beethoven's early years in Vienna, although he was steadily making a name for himself, his finances were frequently in a precarious state. A work from this period, his Rondo a capriccio, has since earned itself the nickname Rage over a Lost Penny. It was a time when Beethoven was having lessons with Haydn, but the younger composer was already wowing the Viennese with his skills as a pianist. One musician who was pitted against Beethoven at a private party in a piano-playing duel, called him a Devil. By March 1795 Beethoven was making his public debut in Vienna, performing one of his own piano concertos. He was working on his C major concerto in the days leading up to this concert, so it is likely that this brand new work was the concerto he premiered in that concert.

Rondo a capriccio, Op 129 (Rage over a Lost Penny)

Evgeny Kissin, piano

Piano Sonata No 2 in A major, Op 2 (Scherzo & Rondo)

Angela Hewitt, piano

Piano Concerto No 1 in C major, Op 15

Alicia de Larrocha, piano

Berlin Radio Symphony Orchestra

Riccardo Chailly, conductor

Producer Luke Whitlock.

Donald Macleod delves into Beethoven's early years in Vienna and his public debut there.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similarly to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

During Beethoven's early years in Vienna, although he was steadily making a name for himself, his finances were frequently in a precarious state. A work from this period, his Rondo a capriccio, has since earned itself the nickname Rage over a Lost Penny. It was a time when Beethoven was having lessons with Haydn, but the younger composer was already wowing the Viennese with his skills as a pianist. One musician who was pitted against Beethoven at a private party in a piano-playing duel, called him a Devil. By March 1795 Beethoven was making his public debut in Vienna, performing one of his own piano concertos. He was working on his C major concerto in the days leading up to this concert, so it is likely that this brand new work was the concerto he premiered in that concert.

Rondo a capriccio, Op 129 (Rage over a Lost Penny)

Evgeny Kissin, piano

Piano Sonata No 2 in A major, Op 2 (Scherzo & Rondo)

Angela Hewitt, piano

Piano Concerto No 1 in C major, Op 15

Alicia de Larrocha, piano

Berlin Radio Symphony Orchestra

Riccardo Chailly, conductor

Producer Luke Whitlock.

Donald Macleod delves into Beethoven's early years in Vienna and his public debut there.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similarly to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

L Specific Paragraph:

Beethoven came from a musical family, and the learning of the keyboard was part of his education. From early on, not only did he prove himself to be an accomplished pianist, but it became apparent that he was also destined to be a composer as well. His father sought out various tutors for his son, and Beethoven soon began to delight the Electoral court in Cologne with performances at the keyboard and his early compositions such as the Nine Variations on a March by Dressler. Around the age of thirteen, Beethoven was making early attempts at writing concertos for the piano, including one in E flat. It wasn't until his early twenties that he'd complete what would be deemed his first piano concerto, Opus 19 in B flat major, although it was labelled as his second concerto in print, because of the order in which his early concertos were published.

Bagatelle, WoO59 (Für Elise)

Steven Osborne, piano

Prelude in C, Op 39 No 2

Hans-Ola Ericsson, organ

Nine Variations on a March by Dressler, WoO63

Ronald Brautigam, fortepiano

Piano Concerto in E flat major, WoO4 (Larghetto)

Ronald Brautigam, piano

Norrk怀ping Symphony Orchestra

Andrew Parrott, conductor

Piano Concerto No 2 in B flat major, Op 19

Robert Levin, fortepiano

Orchestre R退volutionnaire et Romantique

John Eliot Gardiner, conductor

Producer Luke Whitlock.

Donald Macleod explores Beethoven's first piano concerto and the period of its creation.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similarly to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

L Specific Paragraph:

Beethoven came from a musical family, and the learning of the keyboard was part of his education. From early on, not only did he prove himself to be an accomplished pianist, but it became apparent that he was also destined to be a composer as well. His father sought out various tutors for his son, and Beethoven soon began to delight the Electoral court in Cologne with performances at the keyboard and his early compositions such as the Nine Variations on a March by Dressler. Around the age of thirteen, Beethoven was making early attempts at writing concertos for the piano, including one in E flat. It wasn't until his early twenties that he'd complete what would be deemed his first piano concerto, Opus 19 in B flat major, although it was labelled as his second concerto in print, because of the order in which his early concertos were published.

Bagatelle, WoO59 (Für Elise)

Steven Osborne, piano

Prelude in C, Op 39 No 2

Hans-Ola Ericsson, organ

Nine Variations on a March by Dressler, WoO63

Ronald Brautigam, fortepiano

Piano Concerto in E flat major, WoO4 (Larghetto)

Ronald Brautigam, piano

Norrk怀ping Symphony Orchestra

Andrew Parrott, conductor

Piano Concerto No 2 in B flat major, Op 19

Robert Levin, fortepiano

Orchestre R退volutionnaire et Romantique

John Eliot Gardiner, conductor

Producer Luke Whitlock.

Donald Macleod explores Beethoven's first piano concerto and the period of its creation.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similarly to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

From 1799 and into 1800 Beethoven was composing and completing a number of works including a septet, a symphony, and also a set of piano sonatas dedicated to the wife of Baron Peter von Braun. The Baron was involved in allocating dates of usage for the Burgtheater, and on 2nd of April 1800 Beethoven was giving a benefit concert there. This was a period when Beethoven's popularity in Vienna was growing, and he'd soon be asking his brother to be his agent, negotiating contractual deals with publishers. By 1803 came the successful premiere of Beethoven's Third Piano Concerto. One reviewer said that this work should succeed even in Leipzig, where people were accustomed to the best of Mozart's concertos.

Prelude in F minor, WoO55

Jen? Jand　, piano

Rondo in B flat major, WoO6

Pierre-Laurent Aimard, piano

Chamber Orchestra of Europe

Nikolaus Harnoncourt, conductor

Piano Concerto No 3 in C minor, Op 37

Paul Lewis, piano

BBC Symphony Orchestra

Ji?퀀 B?lohlကvek, conductor

Five Variations on Rule Britannia, WoO79

Olli Mustonen, piano

Producer Luke Whitlock.

Donald Macleod surveys Beethoven's growing popularity in Vienna when he needs an agent.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similarly to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

From 1799 and into 1800 Beethoven was composing and completing a number of works including a septet, a symphony, and also a set of piano sonatas dedicated to the wife of Baron Peter von Braun. The Baron was involved in allocating dates of usage for the Burgtheater, and on 2nd of April 1800 Beethoven was giving a benefit concert there. This was a period when Beethoven's popularity in Vienna was growing, and he'd soon be asking his brother to be his agent, negotiating contractual deals with publishers. By 1803 came the successful premiere of Beethoven's Third Piano Concerto. One reviewer said that this work should succeed even in Leipzig, where people were accustomed to the best of Mozart's concertos.

Prelude in F minor, WoO55

Jen? Jand　, piano

Rondo in B flat major, WoO6

Pierre-Laurent Aimard, piano

Chamber Orchestra of Europe

Nikolaus Harnoncourt, conductor

Piano Concerto No 3 in C minor, Op 37

Paul Lewis, piano

BBC Symphony Orchestra

Ji?퀀 B?lohlကvek, conductor

Five Variations on Rule Britannia, WoO79

Olli Mustonen, piano

Producer Luke Whitlock.

Donald Macleod surveys Beethoven's growing popularity in Vienna when he needs an agent.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similar to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

Beethoven thought that his prospects in Vienna were limited, and was convinced he had enemies in the city conspiring against him. The offer of a paid position arrived from the King of Westphalia, so Beethoven started packing his bags to leave. Once they heard news of this, Beethoven's friends and supporters put together a financial package to keep the composer in Vienna. Amongst these friends was the Archduke Rudolph of Austria, whom fled Vienna with the arrival of Napoleon's troops. Beethoven's souvenir to his friend's temporary exile was the piano sonata Les Adieux. During this difficult period of a Vienna under siege, Beethoven also worked on his fifth piano concerto, which was also dedicated to the Archduke. Due to its atmosphere of majesty and heroic grandeur, it has since attained the nickname of the Emperor. Given Beethoven's outbursts of rage against Napoleon and the French during the occupation, it's unlikely he'd have been pleased about this.

Six Variations in D major on an Original Theme, Op 76

Gianluca Cascioli, piano

Piano Sonata No 26 in E flat major, Op 81a (Les Adieux)

Angela Hewitt, piano

Piano Concerto No 5 in E flat major, Op 73 (Emperor)

Richard Goode, piano

Budapest Festival Orchestra

Ivan Fischer, conductor

Producer Luke Whitlock.

Donald Macleod traces Beethoven's life and career in a Vienna under threat from Napoleon.

Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similar to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written.

Beethoven thought that his prospects in Vienna were limited, and was convinced he had enemies in the city conspiring against him. The offer of a paid position arrived from the King of Westphalia, so Beethoven started packing his bags to leave. Once they heard news of this, Beethoven's friends and supporters put together a financial package to keep the composer in Vienna. Amongst these friends was the Archduke Rudolph of Austria, whom fled Vienna with the arrival of Napoleon's troops. Beethoven's souvenir to his friend's temporary exile was the piano sonata Les Adieux. During this difficult period of a Vienna under siege, Beethoven also worked on his fifth piano concerto, which was also dedicated to the Archduke. Due to its atmosphere of majesty and heroic grandeur, it has since attained the nickname of the Emperor. Given Beethoven's outbursts of rage against Napoleon and the French during the occupation, it's unlikely he'd have been pleased about this.

Six Variations in D major on an Original Theme, Op 76

Gianluca Cascioli, piano

Piano Sonata No 26 in E flat major, Op 81a (Les Adieux)

Angela Hewitt, piano

Piano Concerto No 5 in E flat major, Op 73 (Emperor)

Richard Goode, piano

Budapest Festival Orchestra

Ivan Fischer, conductor

Producer Luke Whitlock.

Donald Macleod traces Beethoven's life and career in a Vienna under threat from Napoleon.

Ludwig van Beethoven (1770-1827) composed piano music in the form of themes and variations across his entire career - from his earliest published work to his late, titanic `Diabelli Variations`, lasting nearly an hour. And Beethoven's life can itself be seen as a set of variations on a theme: recurring episodes of unrequited love, artistic anguish, angry fallings-out and constant striving for the highest pinnacle of musical achievement. Yet Beethoven's piano variations often lie in the shadow of his 32 great sonatas for the instrument. This week, Donald Macleod puts that right - shining a light on this remarkable corpus of work, as well another often-overlooked genre: his piano bagatelles.

He begins with Beethoven's very first published work - a boyhood set of variations for piano on a theme by one Ernst Christoph Dressler - before taking us on a journey through mid-1790s Vienna, as an impatient and ambitious young Beethoven meets a man who would become one of the most important patrons of his life: Prince Karl Lichnowsky. Music includes Beethoven's earliest-composed piano concerto - confusingly numbered his second - as well as an exploration of one of his last utterances for piano: his Six Bagatelles, Op 126.

Diabelli Variations (Theme and 1st variation)

Mitsuko Uchida, piano

Variations in C Minor on a theme of Ernst Christoph Dressler, WoO 63

See Siang Wong, piano

Variations in G on `Quant'e piu bello`, WoO 69

Ronald Brautigam, piano

Piano Trio no 2 in G, Opus 1 No 2 (2nd mvt)

Trio Sora

Piano Concerto no 2 in B Flat, Op 19 (3rd mvt)

Kristian Bezuidenhout, piano

Freiburger Barockorchester

Pablo Heras-Casado, conductor

Yevgeny Sudbin, piano

Producer: Steven Rajam

Donald Macleod explores Beethoven's life as a set of themes and variations.

Ludwig van Beethoven (1770-1827) composed piano music in the form of themes and variations across his entire career - from his earliest published work to his late, titanic `Diabelli Variations`, lasting nearly an hour. And Beethoven's life can itself be seen as a set of variations on a theme: recurring episodes of unrequited love, artistic anguish, angry fallings-out and constant striving for the highest pinnacle of musical achievement. Yet Beethoven's piano variations often lie in the shadow of his 32 great sonatas for the instrument. This week, Donald Macleod puts that right - shining a light on this remarkable corpus of work, as well another often-overlooked genre: his piano bagatelles.

By the first years of the 19th century, Beethoven had composed a flurry of masterpieces - among them his first two symphonies and the so-called Moonlight Sonata - which had established him as the leading figure in European music. Yet the months either side of the pivotal year of 1802 would also see Beethoven in the midst of his most profound existential and musical crisis: one in which he'd confront physical and psychological torment and re-emerge, transformed. Donald Macleod tells the story, featuring a complete performance of the composer's Op 34 Piano Variations, and his rarely heard oratorio `Christ On The Mount Of Olives`.

Variations in D on `Rule Britannia!`, WoO 79

Cecile Ousset, piano

Variations in F, Op 34

Rudolf Buchbinder, piano

Christ On The Mount Of Olives (excerpt), Op 85

V. Recitativo: Verkündet, Seraph (Jesus, Seraph)

VI. Duetto: So ruhe denn mit ganzer Schwere (Jesus, Seraph)

VII. Recitativo: Willkommen, Tod! (Jesus)

VIII. Chor der Krieger : Wir haben ihn gesehen

Luba Orgonasova (soprano, Seraph)

Plကcido Domingo (tenor, Jesus)

Deutsches Symphonie-Orchester Berlin

Rundfunkchor Berlin

Kent Nagano, conductor

Seven Bagatelles, Op 33

Melvyn Tan, fortepiano

Producer: Steven Rajam

Donald Macleod tells the story of Beethoven's harrowing personal crisis of 1802.

Ludwig van Beethoven (1770-1827) composed piano music in the form of themes and variations across his entire career - from his earliest published work to his late, titanic `Diabelli Variations`, lasting nearly an hour. And Beethoven's life can itself be seen as a set of variations on a theme: recurring episodes of unrequited love, artistic anguish, angry fallings-out and constant striving for the highest pinnacle of musical achievement. Yet Beethoven's piano variations often lie in the shadow of his 32 great sonatas for the instrument. This week, Donald Macleod puts that right - shining a light on this remarkable corpus of work, as well another often-overlooked genre: his piano bagatelles.

Beethoven's adoration of Napoleon Bonaparte - and his subsequent angry disavowal of him - has gone down in music history: the composer famously ripping out the dedication of his `Eroica` Symphony in fury at the news his freedom-fighting hero had declared himself Emperor. But the name `Eroica` is also applied to one of Beethoven's greatest sets of variations, composed around the same time. Donald Macleod tells the story of their composition, as well as that of Beethoven's unrequited love for his former pupil, Josephine von Brunswick.

Bagatelle in C Major, Woo 54 `Lustig-Traurig`

Ronald Brautigam piano

Clarinet Trio, Op 38 (after Septet, Op 20) (5th mvt)

Paul Meyer, clarinet

Claudio Boh　rquez, cello

Eric Le Sage, piano

An die Hoffnung, Op 32

Hermann Prey, baritone

Leonard Hokanson, piano

Eroica Variations, Op 35

Pierre-Laurent Aimard, piano

Triple Concerto in C Major, Op 56 (2nd and 3rd mvts)

Isabelle Faust, violin

Jean-Guihen Queyras, cello

Alexander Melnikov, piano

Freiburger Barockorchester

Pablo Heras-Casado, conductor

Producer: Steven Rajam

Donald Macleod explores Beethoven's re-emergence from the depths of personal torment.

Ludwig van Beethoven (1770-1827) composed piano music in the form of themes and variations across his entire career - from his earliest published work to his late, titanic `Diabelli Variations`, lasting nearly an hour. And Beethoven's life can itself be seen as a set of variations on a theme: recurring episodes of unrequited love, artistic anguish, angry fallings-out and constant striving for the highest pinnacle of musical achievement. Yet Beethoven's piano variations often lie in the shadow of his 32 great sonatas for the instrument. This week, Donald Macleod puts that right - shining a light on this remarkable corpus of work, as well another often-overlooked genre: his piano bagatelles.

By 1806, Beethoven was slowly coming to terms with his deafness - and beginning to be sociable again amongst friends and admirers. Yet this was a mixed blessin

Ludwig van Beethoven (1770-1827) composed piano music in the form of themes and variations across his entire career - from his earliest published work to his late, titanic `Diabelli Variations`, lasting nearly an hour. And Beethoven's life can itself be seen as a set of variations on a theme: recurring episodes of unrequited love, artistic anguish, angry fallings-out and constant striving for the highest pinnacle of musical achievement. Yet Beethoven's piano variations often lie in the shadow of his 32 great sonatas for the instrument. This week, Donald Macleod puts that right - shining a light on this remarkable corpus of work, as well another often-overlooked genre: his piano bagatelles.

In 1818, the publisher and minor composer Anton Diabelli came up with a marketing gimmick: asking 50 composers to write a variation on his own theme, and publishing them as a glamorous set. He could have never imagined in his wildest dreams that one of them - Ludwig van Beethoven - would go stupendously off-pist

Beethoven remains one of the most lauded composers in history, famed for both his music, and for his personal triumph as a musician over the adversity of his catastrophic hearing loss. Over the course of this Composer of the Week series, Donald Macleod takes five of Beethoven's most iconic works, spread out through the composer's life, and tracks the journey of each of them. Through these stories, Donald discovers both the pieces' direct importance to the composer, and also finds wider issues which each of them point to in the general life of a complex, and troubled man. From his carefully stage-managed debut on the Viennese scene as a young man, and his steadily increasing anguish at the loss of his hearing, and the betrayal by Napoleon of his political ideals, to the close relationship between Beethoven and his most loyal patron, and the composer's late credo of joy through suffering which allowed him to continue to flourish artistically despite all of his personal demons.

In Monday's programme, Donald explores the story of the young Beethoven's relationship with the city of Vienna, and his First Piano Concerto, which was to be a key work in his triumphant debut as a performer in the city. We also discover details of Beethoven's encounters with two of the most famed maestros of the past – Mozart and Haydn – and learn of the tragic death of his mother at the age of just forty.

Symphony No 7 – IV. Finale

Gewandhausorchester Leipzig

Herbert Blomstedt, conductor

Piano Quartet No 1 in E flat major, WoO 36 – II. Allegro con spirito

Konstantin Selheim, piano

Klaviertrio Hannover

Cantata on death of Emperor Joseph II – I. Todt! Todt! - III. Da kam Joseph

Sally Matthews, soprano

Tamara Mumford, mezzo-soprano

Barry Banks, tenor

Andrew Foster-Williams, bass-baritone

San Francisco Symphony Chorus

Michael Tilson Thomas, conductor

Piano Sonata in C major, Op 2`3 – IV. Allegro Assai

Igor Levit, piano

Piano Concerto No 1 in C major, Op 15 - 1st movement

Krystian Zimerman, piano

London Symphony Orchestra

Sir Simon Rattle, conductor

Produced by Sam Philips for BBC Audio Wales and West

Donald Macleod explores the story of Beethoven making his debut as a performer in Vienna.

In Monday's programme, Donald explores the story of the young Beethoven's relationship with the city of Vienna, and his First Piano Concerto, which was to be a key work in his triumphant debut as a performer in the city. We also discover details of Beethoven's encounters with two of the most famed maestros of the past - Mozart and Haydn - and learn of the tragic death of his mother at the age of just forty.

Symphony No 7 - IV. Finale

Piano Quartet No 1 in E flat major, WoO 36 - II. Allegro con spirito

Cantata on death of Emperor Joseph II - I. Todt! Todt! - III. Da kam Joseph

Piano Sonata in C major, Op 2`3 - IV. Allegro Assai

Beethoven remains one of the most lauded composers in history, famed for both his music, and for his personal triumph as a musician over the adversity of his catastrophic hearing loss. Over the course of this Composer of the Week series, Donald Macleod takes five of Beethoven's most iconic works, spread out through the composer's life, and tracks the journey of each of them. Through these stories, Donald discovers both the pieces' direct importance to the composer, and also finds wider issues which each of them point to in the general life of a complex, and troubled man. From his carefully stage-managed debut on the Viennese scene as a young man, and his steadily increasing anguish at the loss of his hearing, and the betrayal by Napoleon of his political ideals, to the close relationship between Beethoven and his most loyal patron, and the composer's late credo of joy through suffering which allowed him to continue to flourish artistically despite all of his personal demons.

In Tuesday's programme, Donald Macleod explores the troubled circumstances which led to the composition of one of the most groundbreaking symphonies of all time - Beethoven's ‘Eroica'. It was a period during which the composer was assailed by troubles with his hearing, and suffered both political disappointment and romantic heartbreak.

The Creatures of Prometheus, Op 43 – Overture

Armonia Atenea

George Petrou, conductor

Piano Sonata no 12 in A-flat, Op 26 – III. Funeral march on the death of a hero

Ronald Brautigam, piano

Christus am Olberge, Op 85 – III. “Meine seele ist erschuttert ? & Chorus

VI. O Heil euch, ihr Erlöstn

Collegium Vocale Gent

Orchestre des Champs-Elysees

Philippe Herreweghe, conductor

An die hoffnung, Op 32

Matthias Goerne, baritone

Jan Lisiecki, piano

Symphony no 3 in E-flat major, Op 55 “Eroica ? – I. Allegro con brio

Berliner Philharmoniker

Herbert von Karajan, conductor

Leonore, Op 72a (original version, 1805) – Act I Nr. 12. Finale “O, welche Lust, in freier Luft

Florian Feth, tenor (1st Prisoner)

Julian Popken, bass (2nd Prisoner)

Zürcher Sing-Akademie

Freiburger Barockorchster

Rene Jacobs, conductor

Donald Macleod explores the troubled composition of Beethoven's 'Eroica' Symphony.

Donald Macleod explores the composition of Beethoven's ‘Eroica' Symphony, during which the composer was assailed by the first signs of the dreadful troubles with his hearing.

In Tuesday's programme, Donald Macleod explores the troubled circumstances which led to the composition of one of the most groundbreaking symphonies of all time - Beethoven's ‘Eroica'. It was a period during which the composer was assailed by troubles with his hearing, and suffered both political disappointment and romantic heartbreak.

The Creatures of Prometheus, Op 43 - Overture

Piano Sonata no 12 in A-flat, Op 26 - III. Funeral march on the death of a hero

Christus am Olberge, Op 85 - III. `Meine seele ist erschuttert` & Chorus

VI. O Heil euch, ihr Erl怀stn

Symphony no 3 in E-flat major, Op 55 `Eroica` - I. Allegro con brio

Leonore, Op 72a (original version, 1805) - Act I Nr. 12. Finale `O, welche Lust, in freier Luft

Beethoven remains one of the most lauded composers in history, famed for both his music, and for his personal triumph as a musician over the adversity of his catastrophic hearing loss. Over the course of this Composer of the Week series, Donald Macleod takes five of Beethoven's most iconic works, spread out through the composer's life, and tracks the journey of each of them. Through these stories, Donald discovers both the pieces' direct importance to the composer, and also finds wider issues which each of them point to in the general life of a complex, and troubled man. From his carefully stage-managed debut on the Viennese scene as a young man, and his steadily increasing anguish at the loss of his hearing, and the betrayal by Napoleon of his political ideals, to the close relationship between Beethoven and his most loyal patron, and the composer's late credo of joy through suffering which allowed him to continue to flourish artistically despite all of his personal demons.

In Wednesday's programme, Donald explores the relationship between Beethoven and his most important patron - Archduke Rudolph of Austria. Beethoven gave lessons to the Archduke and would go on to dedicate more works to him than to any other person, among them some of his most important compositions. The key work of Beethoven's that Donald explores today is one of these – a piece recognised as one of the greatest of Beethoven's chamber works, and a work which could well be a portrait of his patron – the “Archduke ? trio.

Ich bin der Herr von zu, Du bist der Herr von von, WoO 199

Accentus

Piano Concerto No 4 in G major, Op 58 – III. Rondo

Maria João Pires, piano

Swedish Radio Symphony Orchestra

Daniel Harding, conductor

Symphony No 5 in C minor, Op 67 – IV. Allegro

Vienna Philharmonic

Simon Rattle, conductor

Piano Sonata No 26 in E flat major, Op 81a “Les Adieux ? - I. Das lebewohl

Evgeny Kissin, piano

Piano Trio in B flat major, Op 97 “Archduke ? – I. Allegro Molto

Daniel Barenboim, piano

Pinchas Zuckerman, violin

Jacqueline du Pre, cello

Missa Solemnis in D major, Op 123 – Gloria - Quoniam

Laura Aikin, soprano

Bernarda Fink, alto

Johannes Chum, tenor

Ruben Drole, bass

Arnold Schoenberg Chor

Concentus Musicus Wien

Nikolaus Harnoncourt, conductor

Donald Macleod explores Beethoven's relationship with Archduke Rudolph of Austria.

In Wednesday's programme, Donald explores the relationship between Beethoven and his most important patron - Archduke Rudolph of Austria. Beethoven gave lessons to the Archduke and would go on to dedicate more works to him than to any other person, among them some of his most important compositions. The key work of Beethoven's that Donald explores today is one of these - a piece recognised as one of the greatest of Beethoven's chamber works, and a work which could well be a portrait of his patron - the `Archduke` trio.

Piano Concerto No 4 in G major, Op 58 - III. Rondo

Maria Jo　o Pires, piano

Symphony No 5 in C minor, Op 67 - IV. Allegro

Piano Sonata No 26 in E flat major, Op 81a `Les Adieux` - I. Das lebewohl

Piano Trio in B flat major, Op 97 `Archduke` - I. Allegro Molto

Missa Solemnis in D major, Op 123 - Gloria - Quoniam

Beethoven remains one of the most lauded composers in history, famed for both his music, and for his personal triumph as a musician over the adversity of his catastrophic hearing loss. Over the course of this Composer of the Week series, Donald Macleod takes five of Beethoven's most iconic works, spread out through the composer's life, and tracks the journey of each of them. Through these stories, Donald discovers both the pieces' direct importance to the composer, and also finds wider issues which each of them point to in the general life of a complex, and troubled man. From his carefully stage-managed debut on the Viennese scene as a young man, and his steadily increasing anguish at the loss of his hearing, and the betrayal by Napoleon of his political ideals, to the close relationship between Beethoven and his most loyal patron, and the composer's late credo of joy through suffering which allowed him to continue to flourish artistically despite all of his personal demons.

In Thursday's programme, Donald explores another troubled period in Beethoven's life, when the composer was tormented by loneliness, poor health, and his increasing deafness, and had to stop performing. Beethoven also found it difficult to find any artistic inspiration at this time, and struggled to compose. His adoption of a new credo, “Joy through Suffering ? revived him creatively, leading to the composition of one of his greatest sonatas – the “Hammerklavier ?.

Piano Sonata No 29 in Bb major, Op 106 “Hammerklavier ? – II. Scherzo

Murray Perahia, piano

Adelaide, Op 46

Werner Güra, tenor

Christoph Berner, fortepiano

Sonata for Cello and Piano in D major, Op 102

Mischa Maisky, cello

Martha Argerich, piano

An die ferne geliebte, Op 98

Julian Prégardien, tenor

Christoph Schnackertz, piano

Symphony No 8 in F major IV. Allegro Vivace

Gewandhausorchester Leipzig

Riccardo Chailly, conductor

Piano Sonata No 29 in Bb major, Op 106 “Hammerklavier ? – IV. Largo – Allegro risoluto

Mitsuko Uchida, piano

Exploring the composition of one of Beethoven's greatest sonatas, the 'Hammerklavier'.

Donald Macleod explores Beethoven's late Credo of Joy through Suffering and one of his greatest sonatas - the 'Hammerklavier'.

In Thursday's programme, Donald explores another troubled period in Beethoven's life, when the composer was tormented by loneliness, poor health, and his increasing deafness, and had to stop performing. Beethoven also found it difficult to find any artistic inspiration at this time, and struggled to compose. His adoption of a new credo, `Joy through Suffering` revived him creatively, leading to the composition of one of his greatest sonatas - the `Hammerklavier`.

Piano Sonata No 29 in Bb major, Op 106 `Hammerklavier` - II. Scherzo

Julian Pr退gardien, tenor

Piano Sonata No 29 in Bb major, Op 106 `Hammerklavier` - IV. Largo - Allegro risoluto

Beethoven remains one of the most lauded composers in history, famed for both his music, and for his personal triumph as a musician over the adversity of his catastrophic hearing loss. Over the course of this Composer of the Week series, Donald Macleod takes five of Beethoven's most iconic works, spread out through the composer's life, and tracks the journey of each of them. Through these stories, Donald discovers both the pieces' direct importance to the composer, and also finds wider issues which each of them point to in the general life of a complex, and troubled man. From his carefully stage-managed debut on the Viennese scene as a young man, and his steadily increasing anguish at the loss of his hearing, and the betrayal by Napoleon of his political ideals, to the close relationship between Beethoven and his most loyal patron, and the composer's late credo of joy through suffering which allowed him to continue to flourish artistically despite all of his personal demons.

In Friday's programme, Donald explores one of Beethoven's greatest late-period works, one which shows the composer reaching into the past for inspiration to create something truly contemporary – the monumental Grosse Fuge. We will hear about the composer's encounter with the newest popular musician of the day – Rossini, and details of Beethoven's haphazard, shabby and slovenly life. In these final years though - as Beethoven grew older, and more frequently ill, and his finances became ever more precarious - his music became more and more ambitious.

Symphony No 9 in D minor, Op 125 “Choral ? - Finale (excerpt)

Gundula Janowitz, soprano

Hilde Rössel-Majdan, contralto

Waldemar Kmentt, tenor

Walter Berry, bass

Wiener Singverein

Berlin Philharmonic

Herbert von Karajan, conductor

Piano Sonata No 32 in C minor, Op 111 – I. Maestoso

Andras Schiff, piano

Missa Solemnis in D major, Op 123 – Credo: Et Incarnatus Est

Polina Pasztircsák, soprano

Sophie Harmsen, mezzo

Steve Davislim, tenor

Johannes Weisser, baritone

RIAS Kammerchor

Freiburg Barockorchester

Rene Jacobs, conductor

Diabelli variations in C major, Op 120 (variations 31-33)

Stephen Kovacevich, piano

Grosse Fuge in B flat major, Op 133

Takács Quartet

Donald Macleod explores one of Beethoven's greatest late-period works - the Grosse Fuge.

Donald Macleod explores the composition of one of Beethoven's greatest late-period works – the monumental Grosse Fuge.

Donald Macleod explores the composition of one of Beethoven's greatest late-period works - the monumental Grosse Fuge

In Friday's programme, Donald explores one of Beethoven's greatest late-period works, one which shows the composer reaching into the past for inspiration to create something truly contemporary - the monumental Grosse Fuge. We will hear about the composer's encounter with the newest popular musician of the day - Rossini, and details of Beethoven's haphazard, shabby and slovenly life. In these final years though - as Beethoven grew older, and more frequently ill, and his finances became ever more precarious - his music became more and more ambitious.

Symphony No 9 in D minor, Op 125 `Choral` - Finale (excerpt)

Hilde R怀ssel-Majdan, contralto

Piano Sonata No 32 in C minor, Op 111 - I. Maestoso

Missa Solemnis in D major, Op 123 - Credo: Et Incarnatus Est

Polina Pasztircsကk, soprano

Takကcs Quartet