The result is that Beethoven's supreme logic can perhaps be more clearly appreciated here. The instrumental reductions occasioned by the arrangements of the other, larger, works oblige one to concentrate more on the musical arguments of the individual pieces rather than on the composer's original instrumentation. One's only slight regret is that, at under 12 minutes overall (Beethoven being mindful of the restrictions of the late-eighteenth-century horn), it is almost too short a sonata for a stringed instrument (the cello version notwithstanding), but I found it an entirely convincing and natural-sounding work in this arrangement. It is extremely well played by both Silverthorne and David Owen Norris, and the recorded balance is exemplary. 17, is extraordinarily successful, an authentic-sounding Sonata perfectly laid out for the viola (the piano part remains the same, of course). This last work Beethoven himself arranged for cello and piano, varying the horn part en route, so there is something authentic in rearranging it for a stringed instrument with which Silverthorne was able to work.

17, originally, of course, for horn and piano. 20 Septet by Friedrich Hermann, is also here alongside Paul Silverthorne's present-day version of the Sonata, Op. Another nineteenth-century arrangement, of the Op. 8 Serenade for string trio and, despite Beethoven's apparently lukewarm endorsement of this version, he must have felt (after a few expurgations and emendations) it good enough, for he allowed it to be published with a new opus number. 42, the Notturno for viola and piano, is an arrangement by Karl Xaver Kleinheinz of the Op.

Despite being a proficient violist himself (as well as pianist, of course), Beethoven left precious little for the instrument, but that which he did, including an eight-bar fragment from a movement of a projected Sonata for viola and piano, is included on this disc.īeethoven's Op. 'This is a most interesting and valuable CD which should commend itself to all true Beethovenians as well as (naturally) to viola players.

Toccata Classics TOCC0108 (full price, 1 hour 20 minutes) Paul Silverthorne (viola) David Owen Norris (piano) ‘Divinum Mysterium for viola and orchestra resourcefully explores the possibilities of a hymn tune viola player Paul Silverthorne makes the solo part his own, and the LSO under JoAnn Falletta sounds brilliant in a spacious Abbey Road recording.’ Silverthorne plays it with care and rich tone, and should create many advocates for the piece.’ Copland, Barber, and a little Vaughan Williams … can be heard in the background. ‘Also beautiful is Divinum Mysterium (2008), a single movement for viola and orchestra based on the Protestant hymn tune Of the Father’s Love Begotten, itself based on the 11th Century trope of the work’s title. ‘….violist Paul Silverthorne plays with both elegance and exquisite feeling in the lovely Divinum Mysterium, a one movement concerto for viola and orchestra, inspired by a Protestant hymn tune. This is unfailingly appealing and immediately accessible music.’Īmerican Record Guide, January/February 2013 London Symphony Orchestra - JoAnn Falletta, conductor

Autumn sonata thea musgrave