January 1806.

"Vienna, mid-December ...  The most peculiar of the musical products of the last month might have been the long-awaited opera by Beethoven:  F i d e l i o or Conjugal Love.  On November 20th, it was performed for the first time, but received very coolly.  I want to discuss this in more detail.  

A man who, through the cruel vengeance of his enemy, had unjustifiedly been taken to a dungeon and who is languishing there and suffering cruel treatment is destined to be murdered so that his death will forever cover up the crime that had been committed against him, since details of it might otherwise be unearthed.  However, his loving wife (Fidelio) followed him into his prison, as a prison guard by gaining the trust of the tyrant, and ultimately, she was able to save her husband.  The daughter of the prison ward falls in love with Fidelio and, by doing so, is the cause for a rather commonplace episode.  

He who was following the path of the development of Beethoven's otherwise undoubted talent with interest and calm objectivity, had to hope for something quite different of this work than what was presented.  So far, Beethoven, many a times, sacrificed the beautiful for the sake of the new and peculiar; therefore, one should, above all, have expected peculiarity, novelty and a certain originality of this, his first theatrical product--and precisely those qualities are what one found, the least.  

If the entire work is viewed calmly and without prejudice, one has to find that it is neither extraordinary with respect to its inventiness nor with respect to its execution.  The Overture consists of a very long, rambling Adagio, followed by a C-Major Allegro, which is also not excellent and can not stand any comparison with other instrumental works by Beethoven--if only, for example, with his Overture to his ballet, Prometheus. The vocal pieces are not based on any new ideas and are, for the most part, too long, the text is constantly repreated, and finally, also the characteristic is completely wront--for which one can, right off the bat, list the G-Major duet in the third act, for the continuing accompaniment in the highest violin chord rather expresses loud, wild jubilation rather than a quiet, melacholy, deep feeling to have found each other again, in such a situation.  Much better is in the first act a four-part canon and an effective discant aria in F-Major, where three obbligato horns and the bassoon form a pretty, but at times somewhat overladen accompaniment.   The choruses have no effect, at all, and one of them which describes the joy of the prisoners of enjoying fresh air, obviously did not turn out well, at all. 

Also, the presentation was not excellent.  Dem. Milder, in spite of her beautiful voice, does not have enough affect and life for the role of Fidelio, and Demmer almost always intoned somewhat too low.  All in all, and also probably partially due to the present conditions, this opera could only be performed three times." 

January 1806.

1) Sonate et Rondeau pour le Pianoforte, composee par W. J. Tomaschek (Preis 8 Livr.)

2) Grande Sonate pour le Pianoforte compos. par Louis van Beethoven. (Pr 8 Livr.)

These two works comprise the two lastest volumes (No. 14 and 15) of the well-known and justifiedly well-esteemed Repertoire des Clavecinistes which is being published by the publishing house of Hr. J.G. Nägeli in Zurich.  The Beethove Sonata had already been published by another publisher (first movement:  Allegro con Brio in C Major; second movement:  Adagio, introduzione 6/8 time, F Major; third movement: Rondo allegretto, 3/4 time, C Major,) so that it is only mentioned here and we only want to add that the first and last movement belong to the most brilliant, elaborate and original pieces that stem from the pen of this master, that they, however, are also filled with peculiarities and that they are difficult to executed.  . . .  The etching of both works is very beautiful, but not entirely without errors. 

April 1806.

"Vienna, the 27th of April  . . .  Beethoven has brought his opera: Fidelio, with many changes and cuts, back to the stage. An entire act was lost in this process, but the work has gained by it and also been received better."  

July 1806

Sonate pour le Pianoforte, comp. par Louis van Beethoven.  Op. 54.  A Vienne, au Bureau des arts et d'industrie. (Pr. 1 fl. 15 Xr.)

This sonata only consists of a Tempo di Minuetto and a not very long Allegretto, both are difficult to execute, both have been written in the most original spirit and with obviously mature, harmonious artistry, (particularly inasmuch as this leads to the e x p a n s i o n--), but both, again, are filled with peculiarities.  With respect to both kinds of characteristics of B., those that should be praised and those that should be criticized, so often and so much has been written in this periodical by others, and also elsewhere the most devoted friends of his truly deep spirit are concerned about this; however, he shows, particularly in that he--as here--even in smaller pieces, is adding effectless peculiarities and contrived difficultires, thus not only there where he is trying to explore his material in all possible ways--by this, he shows, I say, how he disregards all such comments: thus, of course, the reviewer does not have to add anything than merely the announcement that this work again offers a great deal of material for the repetition of that which others have said.  Etching and paper as beautiful.  

July 1806.

Brief Announcements

Six grandes Sonates pour le Pianoforte, Violon oblige et Violoncelle, ad lib., composees par Louis van Beethoven.  Oeuvr. 60. No. 1. -- No. 2. a Bonn chez Simrock. (Jede No. 4 Franken.)

Six new great sonatas all at onece? exclaimed the reviewer and, in cheerful expectation, looking at the first two, but hardly had he turned the sheet over when he noticed that these sonatas are Beethoven's well-known Violin quartets, arranged for the pianoforte.  Well, one should not complain about this, since the reduction has been worked out so well that one likes to hear these these genial products again--which, inspite of their austere and unyielding character (if one understands them well and can render them well) one can not hear often, enough--alghough here, they can impossibly be performed  q u i t e  in the same manner as in the original and on the original instruments.   Pianists who merely want to shine for their own sake with their passagework should set these works aside; those, however, who want to listen to an ingenious composition and who want to perform it so that others can also hear it, should choose them--particularly no. 1 (in F Major) which, also in its original, is one of the reviewer's most favorite quartets and which can also be performed far better on the pianoforte than no. 2 (in G-Major).  The etching and the appearance are, as one is used from this publisher, very good, indeed; the reviewer could also not find any errors after playing the works twice--which, in the case of  s u c h  music, is no small matter!-- 

Andante pour le Pianoforte compose par Louis van Beethoven.  A Vienne au Bureau des Arts et d'Industrie.  (Pr. 1 fl.)

A single, in itself already interesting, melodious movement that is to be rendered in free variation, which, perhaps, has just been thrown onto the paper by B. or which might have been written in earlier times; (certain empty passage, as on p. 5, syst. 3, or harmonies such as on p. *, syst. 2, bar 5, would indicate both of this--) which, nevertheless, is a little treasure as it can only have been written by a man of genius and by a good pianist.   The effect of a good instrument has also been kept in mind.  And therefore, this little work can be recommended to all those who also want to play compositions by this mater without being able to understand or master his more elaborate works.  Etching and paper are also good.   

October 1806.

Deuzieme grande Sinfonie de Louis van Beethoven, arrangee en Trio pour Pianof., Viol. et Violonc. par l'Auteur meme.  A Vienne au Bureau des arts et d'industrie.

Beethoven's rightfully famous Symphony in D-Major, which has been discussed in this periodical often and thoroughly, is presented here in a reducation--we may certainly presume that it has been issued for those who can not hear the  v e r y  difficult work completely, or, confronted by the amount of artfully intertwined musical thoughts, perhaps also in light of the too abundant use of the 'loudest' instruments, can not understand it well enough, or finally for those who, in retrospect, want to repeat the enjoyment of the complete performance and to revisit passages that are not quite clear to them or passages that they have come to love.  Thus, this reduction, for many reasons, should be welcomed with gratitude, as much as one--and, basically, certainly with good reason--might be against the arramement of  s u c h works.   The reviewer who has heard this Symphony several times, in its entirety, yet certainly did not ponder it with the possibility of a reduction in mind, would hardly have believed that of it, such a satisfactory and, at the same time, also very well-appointed reduction could be produced for all three instruments and with respect to the main concepts, than we have before us.  Indeed, one does gain a not unworthy and as complete as possible impression of the entire work; in specific details, however, this was impossible to achieve--thus, for example, the beautiful Andante loses a great deal, since it lacks the contrast of the string instruments and the wind instruments, and several passages where the composer had intended to directly showcase particular characteristics of certain instruments or their special treatment, for the sake of a beautiful effect, have to remain rather neutral, here.   With respect to this, one should compare, for example, p. 13, syst. 4., and the following, p. 14, the two last systems and the following, p. 16. the first three systems, and where these passages are repeated; and also the entire, unique Scherzando could be mentioned here as an example, altough even here, it remains an interesting piece.  The last movement, in its tumultious, wild, adventuresome spirit, could not be rendered as satisfactorily as would have been preferable; it is also, although it does not appear so, at first sight,  v e r y  difficult to play, so that one will not hear it executed in this form, very often.   Also in this form, the revieweer considers it the least. -- The work, according to its inner worth, is etched beautifully, but not without errors. 

However, the reviewer should also be allowed to add something here that does not really belong here. Two years ago, Beethoven has written a third great Symphony, approximately in the same style as this Second Symphony, but richer in ideas and artful execution, certainly also still broader, deeper and longer, so that it plays for an hour.   This is certainly overdone; after all, everything must have a limit, and when the true, great genius is allowed to demand that critics do not set these limits according to their whims or according to tradition, it has to, nevertheless, respect tose that are recommended to him by the human capability for comprehension and enjoyment--and, at that, not that of this or that audience, but that of humans, in general.    And the musician has to consider these limits even more as, for example, the painter or the poet--to the greatest extent, however, they should be considered by the composer of instrumental works, since all advantages of assisting arts and additional stimulation are lacking; after all, he can not, as can the poet, say, for example: well, then perform my--Wallenstein with its eleven acts in three days, or not at all but merely read it!    Anyhow, this work has been written as it is, and it is certain--(all connoisseurs' voices that the reviewer has heard agree, if not the correspondents of certain leaflets!) it is certain, I say, one of the most original, sublime and profound products that music has to show for itself.  Would it not be a true pity if this work, perhaps due to the lack of support or confidence by a publisher, would remain in the dark or if it would not be made known to the world?  While, already for some time, there have been rumous that it will be published in Vienna, one has not seen it being published, yet.  With these lines, the reviewer did not want to do anything but stir up something and to make a suggestion!-- 

No. 21 -- The 18th of February, 1807.

Sinfonia eroica, a due Violini, Alto, due Flauti, due Oboi, due Clarinetti, Timpani e Basso, composta per festeggiare il souvenire di un grand Uomo, (?) e dedicata a sua Altezza seren. il Principe di Lobkowitz, da Luigi van Beethoven.  Op. 55.  Delle Sinfonie No. 3.  A Vienna, nel Contor delle arti e d'industria.  (V i e r z i g Bogen gr. Format:  9 Guld.)

On several occasions, this periodical already discussed this unique and colossal work, the most extensive and artful of all that Beethoven's original, miraculous mind has brought forth, and that from various aspects.  First, our readers received news about the existence and general character of this work, from Vienna, and also as to how it has been received there, on several occasions; subsequently, other writers, such as recently, for example, our Mannheim correspondent, or, some time ago, the reviewer of the piano reduction of Beethoven's Second Symphony--have added to our first reports similar, but also more detailed comments as to the purpose and character of the work and as to the reasons for their impressions:  n o w , the rich content of the work requires that one takes a closer look at its technical aspects and mechanical so that one can then follow its creator, step by step--a process that the thoroughness of the execution of this work calls for, a process which, if it would require justification, would find it in the use that young artists draw from such analyses, and in the heightened pleasure that educated music lovers will have in listening to the work after having read it. Perhaps, someone will collate all of these impressions and create a new center from which to go out with respect to this work, and even if that would not be the case--at least there no longer prevails a feeling of uncertainty or ambiguity but rather a sufficient basis for orientation has been established which can become part of the general opinion on this work and thereby elevate the status of the art work, its overall influence and thus also shape its fate. 

Accordingly, in this review, the aesthetic aspects will not be entirely overlooked, while, however, mainly the technical and mechanical aspects will be investigated.  That the writer, in doing so, can only render a sequence of individual observations and analyses and that he, thereby, will not contribute to our readers' entertainment, can, unfortunately not be changed, as this manner of proceeding lies in the nature of this subject matter.  However, one should not want to be entertained on every occasion!--

The beginning of this Symphony is formed by an Allegro con brio in 3/4 time, in E-flat Major. After the entire orchestra has sounded the harmonic triad strongly, twice, the Violoncello renders the following main passage which is subsequently to be taken up by all sides, turned around and executed, quietly, yet noticeably enough:  

The entire finale is then concluded by a Presto, the beginning of which falls into the Cadenza of the Andante. At the beginning of this Presto there prevails, however, intentionally, a rather poor unison, namely in g minor--which certainly sounds somewhat peculiar; however, once B. has returned to the main key after that, then he remains in it to the end of this only short, brilliant and very powerfully ending Presto.   Once more, this finale unites everything what a well-appointed orchestra can give of life, wealth and energy; it is a true jubilation of all instruments, which will not only enthuse and transport the listener but also every not too leaden member of the orchestra. 

By the way, this finale is again long, very long, artificial, very artificial, and some of its gems are very hidden; they ask much of the listener in order that he will not only discover and enjoy them afterwards, on paper, but rather, as it should be, at the very moment of their appearance; also here, some accents are sharp and peculiar:  however, be the reviewer is far from complaining about this.  Does not all of this also reflect a very rich, picturesque or poetic composition?  Is all of this not also true about the greater works of music of the (and, as should be understood, rightfully) praised Bachs?  To present such music to a mixed audience, on a regular basis, would not be wise, nay, even unfair; but to ignore it, to not at least perform it in public, would be--something worse.  As justified as the complaint about overdone artificiality, bizarre manner, contrived difficulties of execution etc. are with respect to Beethoven's  s m a l l e r  works that do not say anything or at least not much that could not be said as well, if not better, in a simpler, more natural, pleasant, easy manner, as justified is it when he, with respect to s u c h  a work, where almost everywhere the matter itself presents the difficulties for the thinking listener or the executing musician, such complaints are rejected.  A conversation on common topics should not be dark, difficult or long; however, who asks of the execution of high, abstract matters that it be fulfilling and still as light, graceful, and brief as any other convesation, asks for the impossible and generally does not know, himself, what he actually wants.   With this should, however, not be said that there is not a  N i m i u m  everywhere and that B's genius does not show here, also in this work, its peculiar tendency to reach its limit:  the limit however, where this N i m i u m  (in such works, of course!) begins can only be determined--with respect to the mechanical and technical part--by the i m p o s s i b i l i t y  of its adequate execution as it becomes evident from the nature of the instruments or that of the human hands; and, with respect to the artistic and aesthetic part, by the  g e n i u s   i t s e l f , which, also here, is not limited by tradition, but only (which shall happen herewith!) by the unchangeable laws of the aesthetic capabilities of humans, in general--and when he, the genius, has the particular tendency to ask more of this capability than its laws would allow, then it should be allowed to remind him of this, his peculiar tendency, so that he can become his own law and so that he does not throw his products out into the blue.--

In any event, we will not have to wait long before a great number of reductions and arrangements of this work, as soon as it becomes more well-known, will appear.  Of course, the reviewer can not refuse anyone to render them, and he also does not want to:  he only wants to mention that, on account of its nature, this work can not be reduced tighter than for allowing the possibility of retaining a r e g u l a r l y  e x e c u t e d  harmony.  For two talented playsers on one pianoforte, as has been reported to the reviewer, Hr. Musicdirector Müller has rendered a carefully and excactly arranged reduction, and thus it has been published by the Bureau de musique in Leipzig, severl weeks ago.-- 

The edition of the original does honor to the publisher, for it is easily understandable that they can not have aimed at immediate profit.  The etching is clear and beautiful, but, unfortunately, not quite correct, which, in the case of such a heavily instrumented, difficult and learned work, is all the more regrettable, since these errors will not be found and corrected in rehearsals, everywhere, very easily, and since the diligence of most music directors will not go as far as having a handy score prepared for them.  Therefore, this article will feature a list of the most important etching errors.  

(What follows is a list of all errors that, however, are not essential for our purpose as we do not have a possibility of direct comparison). 

No. 27 -- April 1, 1807.

LIVme Sonate, comp. pour Pianoforte, et ded. a Mr. le Comte Francois de Brunsvik, par Louis van Beethoven. Op. 57. a Vienne au Bureau des Arts et d'Industrie.  (Pr. 2 fl. 50 Xr.)

Everyone knows B's manner of treating a great sonata: and, in spit of all variety in detail, B. remains rather faithful to this manner, overall.  In the first movement of this sonata (15 pages in 12/8 time) he has, again, released a great number of evil spirits, as one already knows them from his other great sonatas; but truly, it is worth the trouble to not only fight with the terrible difficulties, but also with many a notion of dismay in the face of such peculiarities and bizarre creations!  However, about these peculiarities of the master, there has already been written so much and so often that the reviewer does not want to waste another word about them but only wants to mention that he, for this very reason, can not say much with respect to the details of this entire, long movement, since almost everything is filled with these peculiarities.  That, in this process, there are also passages that can not deny the great artist who has written them, is a matter of course.   In any event, who can perform this Allegro white in the manner as it should be played, really deserves to be respected as a pianist!   

Perhaps, some people even smiles when the reviewer admits that, to his feeling and understanding, the utterly simple, following movement, which is only three pages long, is preferable--although it requires more artistry and learnedness to write it!  This is the second movement, a very brief  A n d a n t e   c o n  m o t o   with variations.  Take a look at the utterly unassuming, beautiful, noble theme, that finds room on only one line: 

(Note sample).

Can this even be called a melody? is it not merely a sequence of very closely related chords? does it look like nothing?  The reviewer will also not mention that, with respect to music (as with respect to morality), nothing is less important than "looking like something"--:  therefore, do it the favor and go to your pianoforte and play this unassuming line--beautiful, important, without and hardness, the notes properly bound, grave, ascending and descending, let everything sound out nicely, as long as it is supposed to sound out, and if you do not feel that music such as this little theme -- if you do not feel this, I say, that such music goes from the heart to the heart, then--both of us have none!--

Equally soulful, but also with great power, solid artistry and masterful confidence, B. has written the beautifully executed, characteristic finale.  Here we also find nothing of the chopped, forced elements that one can find in several of B's finales of such vitality and strength.   With respect to inventiveness and treatment, this Allegro, appears to be like the splendid c-flat minor Allegro in B's fantasy in this key.  Only once, it appears to the reviewer, has B. fallen out of the seriousness of this character and out of the strength of this writing style, namely on page 21, syst. 2 ff until he returns to the theme.  Such transitions and fillers with not much more than nothing, but under a certain apparent form, should also be accored to the great master, in free extemporizing, but he should not include them in such very important pieces.  The surprising, but nonetheless contrived inversion, that B. made for himself on page 24 (Presto), is as new as it is pleasant.   This entire finale, although it is certainly not easy, is still, by far, not as difficult to play as the first movement--as always, what has been designed naturally, held onto and executed skillfully, becomes easier to the solid player than what--well--what is not so!--

. . .

The etching is rather clean, but not without errors.  (A list of errors is added). 

May 1807.

"In  V i e n n a , Beethoven's latest, difficult, yet solid quartets please more and more; their enthusiasts hope so see them etched, soon. . . . " 

No. 6 -- 4. November, 1807.

Trente deux Variations p. la Pianoforte comp. par Louis v. Beethoven.  No. 36 a Vienne, au Bureau des art ed d'industries.  (Pr. 1 fl. 48 Xr.)

Also in this work, B. follows the oldest, particularly old German manner of writing variations more than the manner of writing them that is prevalent todya; and particularly, Handel has written variations in this manner, however, with less free and lightly flowing fantasy, which is, on the other hand, also less flighty. By rendering them in this manner, B. has also understood to endow these little products with the charm and attraction of the unusual.  He takes this brief, utterly simple theme:  

(Note sample)

changes it with a wealth of harmonious art and strength to figures of all--partially also very peculiar kinds, overall, however, remains true to the serious, melancholy character of the theme, so that one can see and enjoy the alternating contrasts that these variations present, as a long succession of images, as these are also presented by oriental poets, whereby all depict the same subject, but from different, also opposing, sides.  That, among these  t h i r t y - t w o variations, not all are of equal value, that one some contain peculiar artificialities, effect-less caprices, is understood, when one has come to know B. without partiality;  one will then also presume that others of these variations, and by far the majority, both with respect to inventiveness and to execution, truly represent little masterpieces: and one will not be disappoints with respect to both aspects.  

The variations require a player who can not only overcome considerable difficulties, but also one who is serious; however, these variations are by far not the most difficult of B's piano pieces.  The etching is good.  

December 1807.

News.

"Vienna, the 1st of Dec. . . .  The >>Liebhaberkonzerte<< (Music Lovers' Concerts), having been switched from the Mehlgrube to the Universitätssaal, will be very splendid. . . . Morevover, there we heard Himmel's Ouverture to the  Sylphes, Beethoven's Ouverture to Prometheus..."

January, 1808.

"Vien, the 26th of Dec. . . .  Still more difficult is the great B e e t h o v e n  Simphony in E-flat Major, which, conducted by the composer himself, received much applause. In spite of what has been written about this work of art, the reviewer has to remain true to his original opinion that he had rendered upon its first performance, that this Symphony, indeed, contains much that is sublime and beautiful, but that it also is mixed with a great deal of peculiartities and broadness, and only in form of an revision can it receive the pure form of a perfect work of art.   A new  O u v e r t u r e  by this compoers, (who is supposed to be hired on terms that are very advantageous to the theater) is full of strength and fire; is was, according to its title, designated for  C o l l i n ' s   C o r i o l a n.  

January 1808.

"Vienna, the 16th of Jan. ...  Modern music leads me, most naturally, to the new B e e t h o v e n Symphony in H-Major, which, in the local Liebhaber Concert, was repeated under the direction of the composer.  In the theater, it did not please very much, here, it received, as it appears to me, deserved applause: since the Allegro is very beautiful, fiery and harmoniously crafted, and also the Minuet and the Trio have a unique, original character.  With respect to the Adagio, it might be desirable that the 'singing' would not be spread out as much among the individual instruments  . . . "

February, 1808.

Brief Announcement

Grand Quartetto pour Pianoforte, Violon, Alto et Vcelle, arrange d'apres la Sonfonie heroique, Oeuvr. 55, de Louis van Beethoven. a Vienne au Bureau des arts et d'industrie. (Pr. 5 Fl.)

This well-known work that has been discussed at length in this publication, has been diligently arranged here, and also in this form, it achieves as much of a good effect as can be possible with pieces that are so very much designed for the effect of each instrument, and particularly with respect to the wind instruments in opposition to the string instruments. All four players have to be seasoned players in order to performm this quartet adequately.  The etching is clear and good. 

 

No.  November 6 - 9, 1808.

1.  Grand Trio pour deux Violons et Violoncello, compose par Louis van Beethoven.  Oeuv. (The number is not indicated) a Bonn chez N. Simrock. (Pr. 5 Fr. 50 Cmes.)

2. Grand Trio pour deux Oboes et Basson etc.

3. Grand Trio p. deux Clarinettes et Basson etc.

These three are one; only the title designates first for three instruments, and at no time is it problematic to see for which instruments the composer has actually written this piece.  From the length and the design, as well as from the figures one could almost believe that it, only in consideration of the other instruments, has, at first, been written for string instruments; alone, if one takes a closer look there will not remain any doubt it is the oboe and the bassoon for which the composer might originally have written this piece; the reviewer also does not want to assume of this famous composer that he had wanted to write for various instruments at the same time that, from their volume and their effect, are so different;  the arrangement appears to have been initiated by someone else.  While this Trio can be played with clarinets instead of oboes and also, without losing much, with string instruments, even though it is not suitable to the greater volume of these instruments: on the title, it should, nevertheless, be noted what the original version was.

Under what circumstances and at what time this work might have been written, we still find that it has none too small a value;  it is a serene painting that has been painted with a light, yet skilled and talented hand, which, while it does not satisfy great expectations, also does not raise any; it does not contain any bold, sublime ideas, but pleasant ones, and the manner in which everything has been brought together, forms an attractive whole.   Nowwhere does one notice any misconceptions, nowhere anything contrived or unnatural; due to this, it provides, with all its artistry, a very pleasant, pure, but not too exalted enjoyment.  The limitation of the instruments, and also the simplicity of the three-part movement may lead some to assume that it is less than it really is.--It is really not difficult to execute for all three instruments, yet it requires, if it should create any effect, that it be played by skilful players that can render their parts with taste and pleasantness. . . .

 

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