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Der Kuss, Op 128

composer
author of text

 
In December 1822, Beethoven briefly put aside such monumental projects as his Missa solemnis and ‘Diabelli’ Variations to pen his comic gem Der Kuss, Op 128, termed by Beethoven an ‘ariette’. Providing music in the highest spirits, the composer underscored the punchline with a subtle recurring keyboard titter.

from notes by Benjamin Folkman © 2002

En décembre 1822, Beethoven se détourna brièvement de ses projets monumentaux tels sa Missa solemnis et ses Variations «Diabelli» pour coucher sur le papier une petite perle comique Der Kuss, op.128, qualifié par Beethoven d’«ariette». Il choisit d’accompagner le trait final par un rire subtil au clavier, un élément parcourant toute cette page enjouée.

extrait des notes rédigées par Benjamin Folkman © 2002
Français: Isabelle Battioni

In Dezember 1822 legte Beethoven für einen kurzen Zeitraum solch monumentale Aufträge wie seine Missa solemnis und seine Diabelli Variationen zur Seite, um sein komisches, von ihm als „Ariette“ beschriebenes Meisterstück Der Kuss, op. 128, zu schreiben. Beethoven komponierte äußerst frohsinnige Musik und unterstrich die Pointe mit einem angedeuteten, wiederkehrenden Kichern im Klavier.

aus dem Begleittext von Benjamin Folkman © 2002
Deutsch: Elke Hockings

Recordings

Of ladies and love
CDA67315Last few CD copies remainingDownload currently discounted

Details

Track 3 on CDA67315 [2'08] Last few CD copies remaining

Track-specific metadata for CDA67315 track 3

Artists
ISRC
GB-AJY-02-31503
Duration
2'08
Recording date
15 December 2001
Recording venue
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Recording producer
Mark Brown
Recording engineer
Simon Eadon
Hyperion usage
  1. Of ladies and love (CDA67315)
    Disc 1 Track 3
    Release date: August 2002
    Last few CD copies remaining
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