7 Variations on 'Bei Männern welche Liebe fühlen'

7 Variations on 'Bei Männern welche Liebe fühlen'

7 Variations on 'Bei Männern welche Liebe fühlen'

Ludwig van Beethoven

Marc Coppey's masterclass

Produced by the Saline royale Academy English Music sheet annotated by  Marc  Coppey  is available 47 min Cello

Marc Coppey and Alex Olmedo explore the character of the piece, contrasting between variations, and the importance of breathing.

Produced by the Saline royale Academy

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The masterclass

About this masterclass

In this lesson, Marc Coppey works with student Alex Olmedo to bring out the characters and contrast in the 7 variations on Bei Männern welche Liebe fühlen. Coppey considers how the student must balance the qualities of Beethoven and Mozart in this piece; there must be elegance and operaticism in the style of Mozart, while also drastic changes in dynamic and character in the style of Beethoven. Coppey demonstrates how to maintain legato and quality of sound between the strings, and encourages Olmedo to find more presence and warmth in his quieter dynamics. Intonation, tempo, and transitions between variations are also discussed. 

What we learn in this masterclass

  1. Bringing out the operatic, aria-like quality of the music.

  2. Having strong contrast between each variation and within the variations.

  3. Continuing connection in sound by not stopping the bow.

  4. Balancing sound and maintaining legato between the strings. 

  5. Maintaining intensity and warmth in the sound, even in a piano dynamic.

Bei Männern welche Liebe fühlen by Ludwig van Beethoven

Beethoven composed his 7 Variations on ‘Bei Männern welche Liebe fühlen’ for cello and piano in 1801. The theme is taken from an aria in Mozart’s opera The Magic Flute, during which characters Pamina and Papageno sing a duet. Pamina, represented by the piano, is rejoicing, having discovered that Tamino is in love with her, while Papageno, represented by the cello, laments about his unlucky love life. Coming together, both characters sing about the joys of being in love. In the variations that follow the theme, Beethoven maintains this format, giving both the cello and piano space to express their sentiments separately and then together.

Each variation contrasts with its predecessor. The first is marked by separation, articulating each note of the theme, while the second consists of sixteenth runs. The lyrical third variation leads to a sparser, more sorrowful fourth variation. The fifth variation is a jolly, fast-paced dialogue between the two instruments, contrasted by the sweet, slow song of the sixth variation. The piece concludes with a lilting seventh variation, generally cheery but with contrast throughout. 

  • Producer: Produced by the Saline royale Academy
  • Duration:47 min
  • Spoken language:English

Sheet music

Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this cello masterclass. Please note that this piece has been annotated in accordance to Marc Coppey’s feedback and comments.

Sheet music 7 variations on 'bei männern welche liebe fühlen'

Marc Coppey

Marc  Coppey

In 1988 won the two highest prizes of the International Johann Sebastian Bach Competition: the first prize and the special prize for best Bach performance.

Marc Coppey is a critically acclaimed musician and is considered to be one of today’s leading cellists worldwide. Originally from Strasbourg, France, Coppey began his musical training at the Strasbourg Conservatory before attending the Conservatoire National Supérieur de Musique et de Danse de Paris and the University of Indiana Bloomington. In 1988 at only 18-years-old, Coppey won first prize and special prize for best Bach performance at the International Johann Sebastian Bach Competition in Leipzig, Germany. Since then, Marc Coppey has regularly performed as a soloist with leading orchestras in collaboration with numerous distinguished conductors. Such conductors include but are not limited to: Eliahu Inbal, Rafael Frühbeck de Burgos, Yan-Pascal Tortelier, Emmanuel Krivine, Alan Gilbert, and many more. He appears regularly in some of the most prestigious concert halls across Europe, North and South America, and Asia. In addition to his solo concert career, Marc Coppey is a professor at the Conservatoire National Supérieur de Musique et de Danse de Paris and leads masterclasses all over the world. What’s more, Marc Coppey lends his expertise in the arts and is the Artistic Director of the Musicales de Colmar chamber music festival as well as the Musical Director of the Zagrebacki solisti (Zagreb Soloists). In 2014, he was named the Officer des Arts et des Lettres by the French Minister of Culture.

van Beethoven

Ludwig van Beethoven

Born in Bonn, Germany in 1770, Ludwig van Beethoven is one of the most mainstream references of Classicism — a pianist, composer, and an unequivocal genius. Descending from a long line of musicians, Beethoven studied music from an early age, beginning with the piano, clarinet, and the organ. At the ripe age of 11-years-old, Beethoven received his first job as a court organist, replacing his own teacher for a period of time. A veritable young prodigy, Beethoven was publicly compared to Wolfgang Amadeus Mozart, and a few years later, the young musician traveled to Vienna to briefly study under the tutelage of Mozart himself. In his late 20s, Beethoven noticed difficulties with his hearing and by his mid 40s, he was completely deaf and unable to vocally communicate. Despite this misfortune, he remarkably continued to compose music. Beethoven’s Symphony No. 9 was written after he had entirely lost his hearing. 
 While his early musical career heavily reflected the Viennese Classical tradition inherited by the likes of Mozart and Haydn, Beethoven achieved a unique revolutionary identity by the end of his career. Deceased in 1827, his wake was a public event that gathered around 10,000 people. Despite his passing, Beethoven’s legacy lives on. His works anticipated many of the features that would characterize music in the romantic era and even that of the 20th century.

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