Beethoven's Cadenza

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Created: 29 May 2008

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Cadenza for Beethoven Violin Concerto 

 

 

I recently acquired another version of Beethoven’s Violin Concerto, a 2006 recording featuring Isabelle Faust as the soloist and Jiri Belohlavek conducting The Prague Philharmonia. While the performer, conductor, and orchestra are unfamiliar to me, Harmonia Mundi, the recording label, is a well-known name for its high-quality recordings.

As I’ve come to expect from Harmonia Mundi, this recording is no exception. However, I noticed something interesting when I listened to it. The CD booklet didn’t mention the version of the cadenza used, so I decided to investigate. After listening again, I realised that the not-so-common Beethoven version of the cadenza was employed.

Beethoven completed his Violin Concerto, Op. 61, in 1806. Later, he transcribed a piano version of it, Op. 61a, and wrote four cadenzas for it. The first cadenza is a lengthy and elaborate one at the end of the first movement, featuring timpani in a high-key manner. The second cadenza connects the second and third movements, the third one is at the exposition portion of the third movement, and the final cadenza just before the end of the third movement.

Interestingly, Beethoven didn’t write any cadenzas for the violin version of the concerto. Personally, I prefer the version by Kreisler. It seamlessly blends with the original themes while allowing the violinist to showcase their technical prowess. Nevertheless, using a cadenza written by the original composer adds a special significance to the performance. This Isabelle recording has reignited my interest in Beethoven’s cadenzas. I already have three other recordings that use either the Beethoven version or a slight variation of it.

 

The first recording is by TNC Recordings. The label and performers are unfamiliar to me. This is the only CD set that includes recordings for both Op. 61 and Op. 61a, both featuring Beethoven’s cadenza. The performance and recording are of good standard.

 

 

Second recording is by Deutsche Grammophon. Soloist is Wolfgang Schneiderhan, supported by Berliner Philharmoniker conducted by Eugen Jochum. Schneiderhan transcribed the piano version of the cadenza for the violin concerto.

 

 

Another recording is by Teldec, featuring Gidon Kremer as the soloist, accompanied by The Chamber Orchestra of Europe conducted by Nikolaus Harnoncourt. Kremer transcribed the cadenza himself. He not only used timpani but also incorporated a piano part played backstage.

 

Isabelle Schneiderhan, Nikolaus Kremer, and Gidon Kremer all transcribed the four cadenzas by Beethoven for the violin concerto. For the TNC recording, the cadenza was transcribed by L. Bulatow, and only three of the four cadenzas were used. Oleh Krysa played the violin solo, while Mykola Suk played the piano solo. The orchestra was the Kiev Camerata, conducted by Virko Baley. The piano version of the concerto essentially serves as a direct transcription of the violin version, with the right hand playing the lead violin part and the left hand providing a straightforward accompaniment. Some believe that the tempo of the violin concerto should be quite fast, similar to the interpretation by Heifetz, otherwise, the piano part in the first movement would be too trivial.

For those who are keen on Beethoven’s own cadenza for his great violin concerto, these few recordings should not disappoint you.

 

 

The great Beethoven violin concerto