Beethoven’s two WoO 44 pieces for mandolin and harpsichord are faster and more technically challenging than the WoO 43 pieces. Beethoven scholar Barry Cooper finds WoO 44a to be “particularly delightful, with a light, delicate sound utterly unlike the usual Beethoven.”
#Beethoven250 Day 72
Sonatina in C Major for Mandolin and Harpsichord (WoO 44a), 1796
Philadelphia-based songwriter and mandolinist Bryce Milano is accompanied by Sylvia Barry on a fortepiano.
#Beethoven250 Day 72
Sonatina in C Major for Mandolin and Harpsichord (WoO 44a), 1796
At a music festival in Mexico, Israeli mandolinist Alon Sariel is accompanied by Dutch/Israeli pianist Michael Tsalka.
Beethoven indulges in one of his favorite genres in the WoO 44b piece for mandolin and harpsichord. This is a theme marked Andante with six variations that include much engaging interplay between the two instruments, and a coda that slows down to an Adagio in the final seconds.
#Beethoven250 Day 72
Andante with Variations in D Major for Mandolin and Harpsichord (WoO 44b), 1796
Israeli mandolinist Alon Sariel and Dutch/Israeli pianist Michael Tsalka continue with the second of the WoO 44 pieces.
#Beethoven250 Day 72
Andante with Variations in D Major for Mandolin and Harpsichord (WoO 44b), 1796
At a music festival in France, mandolinist Julian Martineau is accompanied by David Bismuth on piano.
#Beethoven250 Day 72
Andante with Variations in D Major for Mandolin and Harpsichord (WoO 44b), 1796
Zihan Chen (@zihan_mandolin) plays the mandolin part on a Chinese liuqin in a concert in Taipei.