15.12., 7:00 pm | CONCERT ONLINE
Chamber concerto
Chamber Hall in CKK Jordanki
Concert online will be streamed on our YouTube channel 
on 15th December at 7:00 p.m.
Concert will be available to watch to 30th June 2021.
Stream: YouTube

Marcin Zdunik – cello
Aleksander Dębicz – piano
L. van Beethoven – W. A. Mozart “The Magic Flute” in E-flat major Variations 
L. van Beethoven – Sonata in G minor, Op. 5, No. 2

Out of the three collections of variations for cello and piano composed by Beethoven, two were written on operatic themes from Mozart’s The Magic Flute. They were created with the salon in mind and are intended for amateur performances. The cycle of seven non-opus Variations in E-flat major for cello and piano on the theme Bei Männern, welche Liebe fühlen (In men who feel love) was written in 1801, but its genesis is not known. We only know that it was a gift for the Count Johann Georg von Browne – Beethoven’s patron. The theme of the variation comes from the operatic duet of Pamina and Papagen (from Act I). In the discussed variations, the piano part symbolises Pamina and the cello part – her admirer. The theme of the variation allows to spin a dialogue between the instruments. The middle variation is in contrast with the others because of its minor mode (E-flat minor) and the most cantilena-like, penultimate variation precedes an energetic finale. About Mozart’s opera, Beethoven wrote: “The Magic Flute will remain Mozart’s greatest work … for used in it are all the music genres, from the ode, to the chorale, to the fugues”. Mozart’s work was also appreciated by another opera reformer, a very jealous one – Richard Wagner: “The quintessence of all the most noble flowers of art seems to be here united and melted into one wonderful bouquet. How spontaneous and, at the same time, how noble is the popularity of each melody, from the simplest to the mightiest one. Creating (The Magic Flute – A.D.) the genius of Mozart made too big a step: writing the German opera, he gave the world a masterly work, completely perfect, impossible to surpass.”

 Beethoven composed five sonatas for piano and cello. Their diversity is evidence of the changes this genre underwent in the work of the master from Bonn. The Sonata No. 2 in G minor, Op. 5, No. 2 is a youthful work full of vital energy and virtuoso inspiration. The composer wrote it in 1796 for the king of Prussia Frederick William II who, as records show, was quite a good cellist. The first performer of the Sonata No. 2 was most likely Jean-Louis Duport, one of the two cellist brothers employed in the Prussian court. This sonata is no longer a piece for piano with the accompaniment of cello. The emancipation of the cello makes it quit its role of a supporting instrument and become the piano’s equal partner in the discussion of important topics – as is typically the case in chamber music.

Text by dr Aneta Derkowska – musicologist