 Beethoven around 1803 |
January 1804.
News
"Berlin, the 27th of Dec. I haven't told you anything, yet, about the subscription concerts ... The symphonies and overtures were by Beethoven, Cherubini (Lodoiska, Elisa) Haydn, Mehul, Mozart (Titus, Don Juan, Figaro), Reichard (Brennus), Righini (Ariane), and Winter (Tamerlan, Montalban. . . . "
No. 20 -- February 13, 1804.
Variations pour le Pianoforte comp. et ded. a M. le Comte Maurice Lichnowsky par L. v. Beethoven. Oeuvre 35. A Leipzic chez Breitkopf et Härtel. (Pr. 1 Thlr.)
Inexhaustible imagination, original mood, profound inner feeling and passion, those are the individual features of which the genial physiognomy is formed that characterizes almost all of the works of Hr. v. B., and which secure him one of the highest ranks among first-rate instrumental composers, since, particularly in his later works, his care to keep the once-chosen character of a work, his combination of the freest style with purity of phrasing, and I would like to say, also his ability to combine this with contrapuntal elegance, is undeniable.
All the above-mentioned, one can find to a high degree in the above-noted work. Even the form of the whole which deviates so very much from common fare bears witness to his undeniable genius. Before the actual theme--a phrase from the ballet composed by him, "Gli uomini di Prometeo", which has also been published as a piano extraction in single sheets by Hofmeister and Kühnel--there appears, as introduction--after the striking of a full E-flat Major chord, as key of the whole--the simple bass, the theme amplified threefold, and right after that, the bass with o n e melody, then as middle part, surrounded by t w o, and finally in the higher register, supported by t h r e e new ones--thus in four parts. Beautifully and naturally, one is emerging out of the other, however, the reviewer can not suppress the wish that the bass of the second part of the theme, there, where the beginning appears entirely naked, the bass might have been a little bit more important, which, of course--even if this change would have been easy for Hr. v. B., without any harm to the beautiful treatment--Mr. v. B. dismissed, in order to be able to present the theme entirely in the manner in which the great public was used to hearing it in the ballet. After this introduction with its gradually growing parts, the theme itself emerges, and from it Hr. v. B. develops, with his usual skill, 15 splendid variations, followed by a fugue-style finale with two more very beautiful variations and an excursion.
In order not to let the review of this very important little work--of course, not by the number of sheets, alone, is there not many an opera about which one can not say half as much--grow into a book, the reviewer has to confine himself to only refer to that which is most important and to add a few reminiscences.-- Everyone who is familiar with Hr. v. B's works, and be it only superficially, will very likely without the reviewer's assurance be convinced that here, he is neither offered used-up figures nor meagre harmonies as their accompaniment. However, there will hardly be a Beethoven admirer--and to their honor I am inclined to believe that their number is quite large--who, even in the event that he has the highest expectations, nevertheless, will be most pleasantly surprised by the highly genial figures, breaks and the rhythm of the third variation, by the unexpected, unassuming return to E-flat Major in the last three bars of the sixth variation, and particularly by the spirited self-will of the thenth variation. Likewise, the twelfth Variation is comprised of a beuatiful and really important figure. However, particularly well-written is, in the reviewer's opinion, the Minore of Variation 14, the Largo of Variation 15, and the Finale fugato. Initially, in the Minore, the bass of the theme serves as the upper register and then, in the repetition, as the lower register. Through this reversal and with the addition of a small tie, the by themselves already beautiful, new, harmonic progressions in the 7th bar still attain a very special charm, as, generally, this Minore can be assured of its effect as a separate small tone piece, on account of its constant, deeply moving character. The Largo with its treasure of new, splendid ideas will certainly provide great pleasure to everyone who is able to conquer his own difficulties in such a manner that their execution does not reveal any of the strain that might have been required to render the piece that contains them. In passing, it should be mentioned that, of course, t h i s variation does not tolerate any awkwardness or unevenness in tone. Everything has to flow easily and evenly, as if it were fun. Of course, what is being discussed here is only finger mechanism: from the expression, one can at least discern the seriousness. -- Traces of solid contrapuntal knowledge, chastened by refined taste, is what the finale fugato predominantly conveys; and it is also here where they bring the most joy to the conoisseur and to the educated art lover, as he might justifiedly expect them here. The fugue-style fragment of the theme only consists of a few bass notes,
(a note sample is inserted here)
out of which, however, the inexhaustible caprice of the composer has not made too l i t t l e. The reviewer finds that one of the excellent, fortunate ideas, after the theme has shown itself as middle part here, as upper part there, always correctly supported by its accompaniment, or at least by a figure that is very similar to it (not even to mention the interesting turning games of the harmonies, turns etc.) shows itself in the passage in which the theme appears as al rovescio. It is the last measure of the 5th system on the 17th page. Also the secquence of thoughts up to the insertion in B flat, the end on the same page, amongst so much excellence deserves special mention. However, let it be enough with this, since that which has been mentioned might suffice, in itself, to awaken the curiosity in the work, of all connoisseurs and educated art lovers. Among the l a t e s t fruits of this genre, I want to call these variations the variations par excellence. --
Just a few remarks to the composer.
Instead of the first four measures of the 2nd clause of the 5th Variation, the reviewer would have liked to hear something different out of the rich inventiveness of Hr. v. B., since the three imitations in the octave, as they appear h e r e , on one and the same instruments, follow each other somewhat monotonously.
While the Canon in the octave, Var. 7 is, by all means--only once, but intentionally, the canonic form is exchanged with the galant style--written strictly and correctly, it is also written rather -- s t i f f l y. Hr. v. B. should have refrained from including such artifice (as it is nothing but that), here, in t h e s e variations. What o n l y speaks to the mind in a work of art, is at least an hors d'oeuvre. And that emotion has been short-changed in this Canon, Hr. v. B. will have to confirm, himself. -- If the f-minor chord were at the base of the injured sixteenth-part in the second measure of the Largo, in this slow motion, it would be more correct and certainly better. The strict analogy between this and the fourth measure, where the upper register progesses similar to it in thirds, can impossibly sweeten the tartness, which becomes evident in the mentioned part of this measure. It is even more promiment there where the same passage returns in another refraction. -- On page 20, Hr. v. B. has also missed a small oversight. The last eighth of the twelfth measure in the bass has to read like this
(a further note sample)(a third note sample).and the subsequent fourth with the dot has to read
(a fourth note sample).Thus, the progression on Page 21, from the 5th to the 6th measure in the bass is also incorrect; at least, to put it midly, of lesser quality, as if it were written thus:
The same applies, with a small change, where there soon follows a similar passage, which is based on the same harmony.
Those who want to study these variations, the reviewer can, in order to encourage them to persevere, reassure them that, in the event that they should be successful in executing all those many difficulties with ease,in mastering every prescribed expression exactly as indicated so that it will sound like a fresh emotion, then there will certainly be no composition that they would have to set aside as inexecutable. I say n o n e, because even for the playing of Seb. Bach's fugues, enough practice is being provided here. In short, whoever performs these variations exactly as they have been written, without any visible strain, belongs to the foremost pianists. Should he not only remain faithful to the composer in his expression, but should he also be able to add something of his oown q u a n t u m s a t i s, and that of the g o o d , g e n i a l kind, then he will, with all honors, take his place among the true piano virtuosos. -- Some hints, in sofar as they are related to the study of the variations, themselves, might be of use to some. It should be understaood that here, I am neither addressing virtuosos nor the genius. Outstanding talents, as well as those who are not pianists nor want to become pianists, may disregard the following.
In the 5th variation one has to watch out that the hand already rests above the keyboard a moment before striking the full chord. Otherwise, the playing will become angular and not suitable to the peculiar rhythm -- a jerking that is least agreeable, here.
The successful playing of the 10th variation will also facilitate the observation of the same recollection; only, the left hand has to preferably set in determinedly and, so-to-say, "throw" the finger of the previous note towards that of the next note. For example, beginning with the fifth and thus, in alternation, jumping to the 4th, 5th, 2nd. -- The 12th variation requires both hands to be mainly calm, and I want to say, somewhat limp; otherwise, the dragging, two sixteenth-parts together, might not succeed. However, every other expression would be unsuitable for this figure. -- The 13th variation is an excellent exercise of leaping passages and can excellently serve to strengthen the 2nd finger of the right hand and the 5th finger of the left hand. Both have to set in with the right energy, the first one in the grace notes above, the other one in the supporting notes in the bass; thereby, the hands,themselves receive the required approach in the middle chords. -- About the Minore, since it actually does not contain any manual difficulties, I am not saying anything; bound playing, according to the given instructions, is the only correct playing, and thus one will find that which has been mentioned above here, confirmed. With respect to the 15th Var. the already made remark that the many notes have to be executed as lightly and as fluently as possible, and without any visible effort. The reviewer still particularly warns with respect to the too often used tempo rubato, that only all too often is aimed at veiling a lack of true feeling for time, but in vain. The experienced eye will not be fooled by any veiling. Here, in the 15th Var., the slow time signature, the many full-chord figures and breaks really cover up the theme, somewhat. Nevertheless it always should be heard, as much as possible. Thus here n o deliberate swaying in time: good taste can not do otherwise than disapprove of it. Of the fugue-style finale holds true what should be observed in all fugue-style movements: namely to emphasize the appearance of the theme, particularly when it lies in the middle, and to particularly emphasize the characteristics of the figures surrounding it. Still, in this, the reviewer points out that the player should alternate in this from one hand to the other at some time there, where this is not evident from the direction of the note tails but rather where only convenience decides, but always without, in the least, taking anything away from the import of the notes, themselves. What has been said about the hands here, also applies to the fingers, on page 19, system 2, bar 2, where the trill that before was effected by the 2nd and 3rd fingers, now has to be continued in the entire sequence, by the thumb and the index finger. However, these comments should suffice.
Paper and etching are very good, although there have crept in a few small errors, for example, on page 12, bar 7, before ... (here, further research of the addition is required and should be supplied later).
March 1804.
On the status of Music in Frankfort/Main.
" . . . Even more often than singing, piano playing is practiced, and mostly works by Mozart and Beethoven are played . . . "
May 1804.
Supplement to the Concerts.
"...Berlin the 3oth of April. . . . Very decent was a great concerto-style Sextet by Beethoven . . . "
No. 36 -- 6
th of June, 1804Six Songs by Gellert, to be sung with piano accompaniment, dedicated to Count Browne (by) Ludwig van Beethoven. In Bonn, at Simrock. (Price 19 Pennies)
Without a doubt -- the greatest part of the reader will find it not just a bit peculiar,to see six songs by Gellert not only newly composed by Hr. b. B., but also see them removed from their original purpose and set to instrumental music more or less freely. The main advantage of Gellert's songs, one will say, even according to the pious poet's own admission, is that most of them are so well adjusted to the best old choral melodies that they should not be separated from them without harm; also the others have at least something sacred in spirit and form that one should certainly not treat them more freely than Bach has done -- and what other comments of this kind one would still want to add. All of this is, of course, not without good reason, so that one can certainly assume that an experienced musician will hardly have had such an idea, other than in circumstances in which the continued acquaintance with newer literature has become almost impossible. Still, the little work has been composed, and the best remains to deal with it in the manner in which is has been written. However, it is very good, and some parts of it have turned out so well that with respect to some of these songs, out of the entire lot of latest collections of all kind, we can prefer none of the latter, and that with respect to the music per se and with respect to music as expression of the feelings that are contained in the poems.
The entire meaning, which is actually the very field belonging to the musician -- has always been grasped correctly by the composer and has also found beautiful reflection, except where the content (as in no. 2 "So Jemand spricht, ich liebe Gott" --) is almost merely teaching -- a song which should not have been chosen, at all, and which has also turned out the least well, by far, for which reason we do not want to mention it, any further. However, also the rhetorical parts have turned out well for Hr. B., almost everywhere: musical recreation of the construction of the poem in general and in particlar, declamation, accentuation etc. are appropriate and fitting: be it that the composer has reflected upon this or that he merely followed his genius. Also, the appropriate measure of music and execution has been found with respect to every song -- with the exception of no. 5 "Gott ist mein Lied", which song has actually received the most inconsiderable and meagre music, which even has to be repeated f i f t e e n times, and so tome strophes, such as 8 and 9, obviously does not fit well. To remain with the four remaining songs, however, is a true pleasure to us.
"Gott deine Güte reicht so weit" has been written with a great deal of thought, simple, almost chorale-like in the melody, but with a flowing, important bass and which--if the latter ist well-elevated without letting the connections suffer and if the long, fixed #, p. 3, line 1 of the voice part is sufficiently motivated by Crescendo and Decrescendo--achieves the intended effect. However, higher in spirit and also far more original is no. 3, "Meine Lebenszeit verstreichet", which has been written in f-shart minor. Here, a truly genial spirit is at work and immediately cancels out any criticism one might have with respect to smaller issues. Instead of an analysis, let us take a look at the following main passage: who can miss the greatness which, particularly through the slowly ascending melody and afterwards of the bass, yet even more through the wealth of excellent harmony sequence and through the apportioning of the strength of the tones, is accellerated to eeriness--who can fail to recognize this, or who can wish for something general and less defined, since, of course, this music is, not entirely suitable to some strophes?
(Note sample)A fitting aside to this song is the "die Himmel rühmen des Ewigen Ehre," and with respect to it everything advantageous that has been said about it only has to be repeated with respect to the serene character that is manifested in its pathos, if something that is so perfect, by itself, would require more pointing-out. He who is not moved by music as particularly from this point on: Wer trägt der Himmel unzählbare Sterne -- to the end, will hardly be moved by any music, except by trumpets, kettledrums and large drums. Finally, of no. 6, every strophe has received its own music, but in such a way that the composer is reflecting the main ideas of the melody in other relationships as well as possible, with a firm focus, grasp and tact. However, there, where this plaintive song of repentance (An mir allein hab' ich gesündigt) is changing into a more confident, soft pleading, (Früh wollst du mich mit deiner Gnade füllen) and where the humbled heart dares to concentrate on more calming images and emotions, there, the composer moves into the Major, and, after a very good introductory prelude, he moves on to a new music which becomes ever more serene through the rich figururated accompaniment, for which one would have wished for less of the usual piano variations design, which, however, if performed 'with a grain of salt', does not hurt the overall impression, so that, at least at the end, there remains something of the impression that the poet wanted to convey.
Etching, paper and the entire presentation of this valuable little work are very good.
September 1804.
"The summer music performances in our Augarten have ended with t w o substriptions, this year. The presented pieces were, for the most part, very well chosen and played diligently, with precision and fire, although the society consists almost entirely of dilletantes. The symphonies were by Haydn, Mozart, Beethoven and Eberl. What pleased the most were the Mozart symphonies in C Major and g minor, the Beethoven symphony in D Major and the Eberl symphony in E-flat Major. . . . Beethoven's pupil, Hr. Riese, pleased with a Piano Concerto by his master (in c minor) which is very beautifully written and instrumented, but which has a serious character . . . "
December 1804.
Continued detailed report on the Concerts in Berlin
"...The third, of November 15th, began with the excellent Symphony in C Major by Beethoven that has been received with so much well-deserved applause in last year's concerts. ... This mentioned great symphony, this wonderful, clear masterwork by B. which is full of harmony and still lacks all bizarre elements, was executed with taste and energy. How splendidly did the first Allegro sway back and forth in the emotional storms and effects! how pleasantly did the Quasi-Allegretto calm the excited senses! How unsurpassably beautiful did the wind instruments play the 'singing' in the Trio of the minuet, in which the violins executed the progressing motions in entire synchrony! -- This was not quite the case at the beginning of the finale which is, after all, very difficult with such an amount of players, where the most precise synchronicity in bow movement and expression is asked for! The entire performance, however, was splendid. ---"
January 1805.
"Munich, the 9th of Dec. Last week, ouur musical winter entertainment has started with the thrid 'Liebhaberkonzert' (music lovers' concert) of the third season, in which there were presented -- : in the first part, an overture in C Major by B e e t h o v e n (not the best that he has written) ... "
No. 28 -- 10. April 1805
Grand Concerto pour le Pianoforte avec accompagnement de 2 Violons, Alto, 2 Flutes, 2 Hautbois, 2 Clarinettes, 2 Cors, 2 Bassons, 2 Trompettes et Timbales, Violoncello et Basse, compose et dedie a son Altesse Royale Monseigneur le Prince Louis Ferdinand de Prusse, par Louis van Beethoven. Oeuvre 37. A Vienne au Bureau d'Arts et d'Industrie. (Pr. 4 Fl. 30 Xr.)
The present concerto belongs to the most important works of this genial master that have been published in receint years, and, in certain aspects, might even excel above all others. At least, in non os his latest, original works, does the reviewer, in addition to such an amount of beautiful and noble ideas find such a thorough execution that does not tend to be too bombastic or contribed, such a firm character without excesses, and, with respect to the work, of such unity. Everywhere where it can be performed w e l l, it will and is bound to be of the greatest and most beautiful effect, even there where one--as in Leipzig--is used to hearing the greater Mozart concertos performed well and where one views them with justifiable preference, this will be the case and has already been the case. Of this--particularly from Vienna, and from Leipzig on the part of the editor of this periodical, itself, there have already appeared reports and thorough discussions. In that the editor has now entrusted me, the musician, with the further evaluation of this work, it has, undoubtedly shown its well-considered intention that this work should now also be discussed with respect to its artistic and technical value; and I--as everyone--have to find this too laudable in order for me not to follow suit with respect to these intentions and not to contribute as much to their realizations as I can. Thus I repeat here again with two lines: with respect to its effect on the mind and with respect to its impact, this concerto is one of the most excellent among a l l that have ever been written, and thus I will try to explain, out of the work, where this impact comes from, and to what extent it arises out of the matter and its construction.
The first movement, an Allegro con brio in c minor, the strings begin with this idea in unisono which is then repeated by the oboes, bassoons and horns, on the basic dominant:
(Note sample)