BEETHOVEN 200 YEARS AGO TODAY: Friday, October 22, 1824 (very approximately)

Issue XXII (October, 1824) of the London musical newspaper The Harmonicon at 178-182 includes an extensive review of Beethoven’s May 1824 Akademie concerts. The article, which although it states is “from a Vienna Journal,” seems largely based upon the one in the July 1 Leipzig Allgemeine musikalische Zeitung. It opens with a translation of the Petition to Beethoven not to premiere his new works in foreign countries, but to let the people of Vienna hear the sounds of his harmonies. There is also a mention of the proposed opera Melusine, for which Beethoven has promised to enter into arrangements with the Vienna opera.

“Accordingly, on the 7th of May, a grand musical performance took place at the Kärntherthor Theater. The leaders of the music were Kapellmeister Umlauf and M.Schupanzigh [sic], and the great Composer himself assisted on the occasion. He took his place at the side of the principal leader, and, with his original score before him, indicated the different movements and determined the precise manner in which they were to be given; for unfortunately, the state of his hearing prevented him from doing more. The theatre was crowded to excess and the sensation caused by the appearance of this great man was of a kind that it is more easy to imagine than to describe.”

“The arrangement of the pieces performed was as follows: 1st, Beethoven’s Grand Overture in major: 2nd, Three Grand Hymns, with solo and chorus parts, from new Mass, never before performed: 3rd, A grand New Symphony, with a finale, in which are introduced solo and chorus part, from Schiller’s Lied an die Freude, Song of Joy.) This also was performed for the first time, Beethoven’s last composition.”

“We shall offer a few observations on each of these in the order of their performance. With respect to the Overture, it indisputably belongs to the most finished of his compositions. The introductory andante is throughout of the most simple, noble, and masterly kind, and the rather lengthened allegro that follows is full of brilliant fancy; it is in the free fugue style, in three parts, each of which is sustained with equal power and effect. It is never monotonous, its form is constantly varying without in any manner sacrificing unity of effect; without the smallest rest-point, the interest is constantly kept up; it flows along in a stream of harmony always pure and limpid; but it certainly presents an arduous task to the performer. It is thus that Handel would have written, had he had at his disposal the rich orchestra of our times, and it is only a spirit congenial with that of the immortal author of the Messiah, that could succeed in treading in the footsteps of this giant of the art.”

“The three hymns are principal portions of the new mass which Beethoven has lately composed, and of which he sent copies to all the illustrious patrons of the art, and among the rest, as we have before stated, to his late Majesty, Louis of France, who sent him a golden medal in return. –The first, which was the Kyrie Eleison, is in D major, a movement full of religious feeling. The Christe that followed is in triple time, and full of strong contra-puntic effect; return to the first measure of the Kyrie is managed in a masterly manner, and he whole terminates in harmonies of a very singular and touching character. But altogether, the effect is not so much that of children supplicating a parent, h is the true intent of the words, in the place in which they stand, as the deep and mournful supplications of a people humbled in the dust.”

“The treatment of the Credo that follows, is in the highest degree original and uncommon. Both the principal Key, B flat major, as well as the time, change, perhaps, too often, so that the ear is scarcely able to comprehend the suddenness of the effects intended to be produced. At the consubstantialem patri, a short but very powerful fugue commences; the incarnatus est is a movement of very pathetic effect, and the tender and touching passage passus et sepultus est, with its well placed dissonances in the violin accompaniment, is not to be described. Well imagined and sustained is the strongly-figured movement cujus regni non erit finis; but it excites some surprise to hear the vitam venturi saeculi given as a slow fugue; it is true that the movement at the entrance of the contra-theme is somewhat quickened, but the first moderato again returns. The amen opens with a broad and richly-ornamented passage; it swells into splendid effect, and terminates in a long dying fall. If it were permitted in a church composition to speak of effect, in the same manner as in a secular production, it cannot be denied that this retarding kind of conclusion tends to weaken the powerful impression produced by the preceding bolder results; especially when no reasonable cause can be assigned for such a mode of conclusion, except it be the determination of a composer to differ from all the rest of the world. Who does not feel himself inspired by those brilliant fugues with which a [Johann Gottlieb] Naumann, a Haydn, and a Mozart, terminate their compositions of this kind, which seem as if on the wings of seraphs to waft the soul towards heaven?”

“The character of the Agnus Dei, in B minor, is solemn and tender, and the introduction of four French horns, tends to heighten the effect in an extraordinary degree. The dona in D major 6/8 time, passes into an allegretto movement full of feeling, and advances in beautiful imitations; till suddenly the passage changes, and the kettle drums, like distant thunder, intone the deep pacem. A soprano solo introduces the second Agnus Dei, in a kind of recitative, and a chorus, strengthened by trumpets, precedes the tremendous miserere nobis. The effect of the latter is singular in the extreme, and when we reflect upon the sentiments intended to be expressed, we scarcely know whether to praise or blame.”
“With respect to the new symphony, it may, without fear, stand a competition with its eight sister-works, by none of which is the fame of its beauty likely to be eclipsed; it is evidently of the same family, though its characteristic features are different:

–facies non omnibus una,
Non diversa tarnen, qualem debet esse sororum. – Ovid. [The face was not the same with all. It was not however, materially different; the resemblance was such as should appear between sisters.]

“The opening passage is a bold allegro, in D minor, full of rich invention, and of athletic power; from the first chord till the gradual unfolding of the colossal theme, expectation is constantly kept alive, and never disappointed. To give a skeleton of this composition would be scarcely practicable, and, after all, would convey but a very faint idea of the body; we shall therefore only touch upon some of the more prominent features, among which is a scherzo movement (D minor,) full of playful gaiety, and in which all the instruments seem to contend with each other in the whim and sportiveness of the passage; –and a brilliant march in the vivid major mode, forms a delightful contrast with the passages by which it is introduced. Whoever has imagined, in hearing the andante of the 7th symphony, that nothing could ever equal, not to say surpass it, has but to hear the movement of the same kind in the present composition, in order to change his sentiments. In truth, the movement is altogether divine, the interchanges and combinations of the motivos are surprising, the tasteful conduct of the whole is easy and natural, and in the midst of the rich exuberance of the subject, the simplicity that prevails throughout is truly admirable.”

“But it is in the finale that the genius of this great master shines forth most conspicuously. We are here in an ingenious manner presented with a return of all the subjects in short and brilliant passages, and which, as in a mirror, reflect the features of the whole. After this, a singular kind of recitative by the contra-basses, introduces a crescendo passage of overwhelming effect, which is answered by a chorus of voices that bursts unexpectedly in, and produces an entirely new and extraordinary result. The passages from Schiller’s “Song of Joy,” are made admirably expressive of the sentiments which the poet intended to convey, and are in perfect keeping with the tone and character of the whole of this wonderful composition. Critics have remarked of the finale, that it requires to be heard frequently in order to be duly appreciated.”

“At the conclusion of the concert, Beethoven was unanimously called forward. He modestly saluted the audience, and retired amidst the loudest expressions of enthusiasm. Yet the feeling of joy was tempered by an universal regret, to see so gifted an individual labouring under an infliction, the most cruel that could befall an artist in that profession for which nature had destined him. We have no doubt but the master will consider this as one of the proudest days in his existence, and it is to be hoped that the testimony of general feeling which he has witnessed, will tend to soothe his spirit, to soften down some of its asperities, and to convince him that he stands upon a pinnacle, far above the reach of envy and every malignant passion.”

“Both the singers and instrumental performers acquitted themselves on this interesting occasion, in a manner that is deserving of the highest praise. Of the worthy Kapellmeister Umlauf, who undertook the conduct of this great work, and who with M. Schupanzigh, a master of known abilities, led the band, it is buy justice to say, that his zeal, knowledge, and talents deservedly obtained him the most conspicuous place, and the merited thanks of his brother artists. The impracticability of devoting sufficient time to the number of rehearsals that were necessary, in order to do justice to music which is at once new, and of so lofty a character, made it impossible to give it with that precision, and with those delicate shades of forte and piano, which are required to do them justice.”

“The deep and general feeling which this concert in honour of the great master of the modern art in Germany, excited, together with the disappointment experienced by many who were unable to obtain admission, induced the Director of the Theatre to make an offer to the composer, of a certain consideration, if he would condescend once more to appear in public, and assist at a repetition of the same music. With this request he complied, and in addition to the pieces before performed, he offered them a manuscript terzetto, with Italian words, which was accordingly performed, and considered by the numerous Italian amateurs in Vienna, as a kind of compliment paid by the composer to themselves.”

“The performance went off with still greater eclat than on the former occasion, and this new composition was hailed by all with no less enthusiasm than the other works.”