The recording of Beethoven Transformed vols. 1 and 2 was made possible thanks to funding from the University of Huddersfield.

Beethoven Transformed 

Beethoven Transformed presents Beethoven’s music reimagined by his contemporaries for 6- and 9-part Harmonie. Boxwood & Brass reveal how what today are venerated ‘masterpieces’ were once treated with much greater liberty. These fascinating arrangements shed new light on familiar music and display the artistry of the leading wind players of Beethoven’s time.

Volume 2: Virtuoso arrangements for Viennese Harmonie RES10270

Beethoven arr. Starke: Egmont Overture op. 84
Beethoven arr. Percival: Egmont Incidental Music Op. 84 (excerpts)
Beethoven arr. anon: Harmonie arrangée de Sonate Pathetique (Op. 13)
Beethoven arr. anon: Symphony no. 7, Op. 92

Beethoven Transformed vol. 2 captures the pinnacle of the Harmoniemusik genre that defined the soundscape of early-19th century Vienna. Originally popularised by Emperor Josef II, by 1800 Viennese-style 8- and 9-part Harmonien were found wherever Viennese court influence was exercised or its favour sought. Exceptional and entrepreneurial musicians capitalised on the popularity of these ensembles by issuing ever-more ambitious arrangements of the latest music. The three works featured here were all published by Beethoven’s friend and publisher Sigmund Anton Steiner between 1810 and 1816, and it seems certain that Beethoven himself would have approved the enterprise. Each arrangement re-makes Beethoven’s powerful and dramatic music to exploit not only the myriad colours of early-19th century wind instruments, but also the artistry and technical prowess that Vienna’s best Harmonien possessed. Harmoniemusik is sometimes described as ‘background music’, but these arrangements each capture the turbulent atmosphere of Europe at the height of the Napoleonic wars: wind music to make you sit up and listen.

Rachel Chaplin and Nicola Barbagli, oboes
Emily Worthington and Fiona Mitchell, clarinets
Robert Percival and Takako Kunugi, bassoons
Anneke Scott and Kate Goldsmith, natural horns
Jacqueline Dossor, double bass

oboes, clarinets and bassoons after J. F. Floth and H. Grenser, Dresden c. 1810
horns by M. A. Raoux and Courtois neveu aîné, Paris c. 1820
double bass by an anonymous maker, northern Italy c. 1740