Beethoven’s Nightmare

(Written by Igudesman & Joo)

Beethoven is unique. Almost nobody disputes that. He is arguably considered by all to be the greatest composer of all time. Even so, we tried to improve his music, which is of course impossible, but we had fun trying. There are many ways to interpret the title, “Beethoven’s Nightmare”, and probably, from Beethoven’s point of view, we are his nightmare! In any case, here’s a few back stories to our musical tributes for our favourite composer.  

Beethoven through a Phillip Glass Eye by Hyung-ki Joo

Beethoven was ahead of his time in many ways. One of the ways was that he was writing minimal music centuries before composers such as Philipp Glass. This piece begins with the viola and cello playing Beethoven’s “Eye Glass” Duet, before they are interrupted by an explosion in A minor. What follows is the beginning of Beethoven’s Nightmare... 

Meditation on For Elise by Hyung-ki Joo

Before attempting Beethoven’s most famous piece, one needs to meditate, and be fresh. Good Luck, Hyung-ki!

For A Lease by Aleksey Igudesman

 “For Elise” is one of Beethoven’s most-known pieces. “For A Lease” is not. Or not yet. Let’s be honest: the original, with all the respect we have for Beethoven, is not the most invigorating piece of music and is harmonically borderline kitsch at times. Igudesman tried to remove some of the kitsch and make it more emotional and intimate in parts, while epic in others. Incidentally, did you know that on Beethoven’s original manuscript it said “For Therese”? Therese must have been pretty cheesed off when the work was published with someone else’s name on it!

Beethoven Takes Five by Aleksey Igudesman

The title says it all. Igudesman took Ludwig’s most iconic motif and changed it to fit an odd 5 beats in a bar. On top of that, he turned it into funk, Mexican music, jazz, Latin, swing and procured all sorts of other abominations on top. Highly unconventional, but always recognizable, this piece proves how much fun one can have and how far one can go if the original material is as great as it is. Incidentally, if you happen to notice the sound of Big Ben in the middle of the piece, you heard right. This is to remind us that it’s 5 o’clock and time for tea. Well, it’s 5 o’clock somewhere in the world, is it not?

Let’s all Take Five!

Beethoven’s Nightmare by Hyung-ki Joo

We just accept it as some historical trivia that Beethoven was deaf. But if one stops to really think about this, it’s insane that the world’s greatest composer was deaf. It is comparable to a painter being blind- (which, by the way, exists in the masterful Turkish painter, Esref Armagan, who was born with no eyes.) In spite of not being able to hear what he was composing, he still managed to pull off the greatest masterpieces. But it wasn’t easy. In fact, once he realised that he was going deaf, he tried to leave this world, and wrote the very touching “Heligenstadt Testament”. Fortunately, for all of us, this testament never ended up being his farewell letter. But imagine the nightmare inside his head, for the rest of his life...

A Little Bit Hoven by Aleksey Igudesman & Hyung-ki Joo

Beethoven has written so many great masterworks, which we wanted to play for you today. The problem is, that they are all too long.

And the average attention span is getting shorter and shorter. That's why we have reduced some of his works. Not in price, but in value. So, at this point of the program you will hear all of Beethoven’s Symphonies. Sort of. 

Larghetto from the Violin-Piano Concerto by Beethoven

Soon after the premiere of the iconic violin concerto by Beethoven, a piece often thought of as the greatest violin concerto ever written, the maestro himself transcribed it for piano and orchestra.

We have carefully and lovingly fused the two versions together and transcribed the piece in a way that brings out the strength of both versions, we believe.

Where is the Remote Control? by Igudesman & Joo

When more and more things are on demand, why not have a choice of violin concertos? Anytime, anywhere. And Igudesman as a soloist is flexible enough to jump from one piece to the next. But will the orchestra follow? Incidentally, did you know that A.I. is synonymous for both Aleksey Igudesman, and Artificial Intelligence?

Well, without the “Intelligence”. 

Immortal Beloved by Hyung-ki Joo

One of the most romantic things I have ever read are three love letters that Beethoven wrote to a woman. This affair must have been so secret that nobody knows, to this day, to whom the letters are addressed. We just know them as letters to his “immortal beloved”. I have a different personal theory, based on no historical fact, that these letters are actually addressed to no-one, and is just another outpouring of his creative and passionate soul. Regardless, I set Beethoven’s deeply personal words to music, and I did my very best to step in his shoes and heart and write a song that could have been written by a 21^st century version of Beethoven. 

Joyful Variations by Aleksey Igudesman

In “Joyful Variations”, Igudesman tells the story of Beethoven’s strong belief in artistic and personal freedom. He uses Beethoven’s iconic theme of the last movement of the 9^th Symphony and takes it on a travel around the world, embracing a myriad of different cultures. 

The piece travels through 9 different regions of the world with a focus on Samba from Brazil, Salsa from Cuba, Columbia and Venezuela, music from the far East, like from China, Korea and Japan, Classical Music and Bollywood from India and Pakistan, Celtic Music from Ireland, Scotland, France and Spain, African Music from Senegal, Ghana, South Africa and Kamerun, Gypsy music from Spain, Eastern Europe and Argentina, Middle Eastern Music from Egypt and Turkey and Blues, Rock, Funk and Big Band from North America. 

The cultural differences are explored partially through regional scales and to a large extend through traditional rhythms and grooves, as well as a vast amount of fun, joy and theatricality. 

The extended percussion section takes the central focus of the work, building the glue and the backbone to the myriad of styles used. At times the percussionists even come to the front of the stage.

With the help of the multi percussionist Lucy Landymore, Igudesman created an elaborate percussion score, featuring a variety of instruments from around the world. Commonly composers would watch out that the notation of the percussion instruments allows maximum time for instrument change, as well as considering the vicinity of the instruments. In the case of the “Joyful Variations” Igudesman takes the opposite approach, featuring the change of the instruments. 

In a theatrical manner, with the players at times running to get to the next instrument. 

Vocal solo sections as well as orchestral improvised solos feature individual soloists throughout the work, culminating in the orchestra turning into a choir and finishing with a somewhat enhanced original ending of Beethoven’s 9^th Symphony.