BEETHOVEN 200 YEARS AGO TODAY: Wednesday, August 4, 1824
The Berlin Königsstädter Theater opens today at last, after several months’ delay, with a benefit concert for the poor. The centerpiece of the concert is Beethoven’s Consecration of the House Overture. Also on the program, among others, are a prologue by Demoiselle Caroline Bauer, the comedy A Friend in Need, and the singspiel The Oxen Minuet, which was based on Haydn compositions arranged by Kapellmeister von Seyfried. The concert raises 884 thalers and 22 groschen. Leipzig Allgemeine musikalische Zeitung Nr.39 (September 23, 1824) at 633.
The September 29, 1824 Wiener musikalische Zeitung (Nr.78) at 309 includes the conclusion of the overview of the ceremonial grand opening of the new theater. Among the works mentioned is a “very successful symphonie by Beethoven. In general, it was evident not only here, but also in the accompaniment to the singing pieces, that the orchestra is well-rehearsed, with appropriate strength, and as necessary, appropriate discretion.” [The “symphonie” refers to the Consecration of the House Overture, in the old fashioned sense of an orchestral work.]
The Wiener Zeitschrift of September 16, 1824 (Nr.112) at 970-971 gives a fuller account of the opening. The correspondent notes that the new royal theater has many similarities to the royal theater in Vienna, so in a sense they now have the Viennese in Berlin. Through problems of changes in construction and execution, and long pauses, with persistence and money the building was quickly and well completed. The new house was designed by the Duke of Braunschweig’s court architect, Herr Ottmer. The theater was built on the spot of the previous one that had burned down, but the second builder was far more economical in terms of space and money than the first, and the defects and mistakes of the first building were happily avoided, turning uncomfortable into comfortable, dark into bright, and decorativeness into usefulness.
After the prologue a Symphony by Beethoven was heard, as part of a benefit for the poor. [“Symphony” again here is meant in the old-fashioned sense of an orchestral work.] His Majesty the King honored the performance of the singspiel with his presence. The house had been sold out already by 10 a.m. in the morning, even though the same works were performed three or four times in a row, in accordance with Viennese and Parisian customs.
The Berliner Allgemeine musikalische Zeitung (Nr.34) of August 25, 1824, at 292, in part of its lengthy review of the opening, rather badly panned Beethoven’s Overture. “In the festival symphony by Beethoven that followed, we hardly recognized the great master’s immense genius. No matter how much the very good theater orchestra (whose organization does credit to music director Henning) played this piece with diligence, precision and tenderness, it was unable to appeal to us. We can only describe the manner in which it was written as bizarre in its desire for originality. We completely missed melody and unity.”
The second of young Franz Liszt’s Manchester, England concerts is held this evening at the Theatre-Royal. This concert features his teacher Carl Czerny’s Variations in E-flat with orchestral accompaniment, and afterwards Liszt extemporizes on a theme, which he would request any person present to provide for him. Also on the program is an even younger infant prodigy, the Infant Lyra (supposedly three years old), on the harp, as well as Beethoven’s Septet op.20 and the Overture to The Creatures of Prometheus, op.43.
The poster states, “MASTER LISZT being about to return to the Continent, where he is eagerly expected in consequence of his astonishing talents, and the INFANT LYRA being on her way to London, the only opportunity which can occur for the inhabitants of Manchester to hear them has been seized by Mr. WARD; and to afford every possible advantage to the Voices and Instruments, he has so constructed the Orchestra, that the HARP and the PIANO-FORTE will be satisfactorily heard in every part of the house.”
According to the Manchester Gazette of August 7, 1824, Liszt was completely upstaged by the Infant Lyra, who “dropped a little short curtsey and kissed her hand to the smiling audience; and then climbed up to her chair, beside which stood a harp of a small size, but twice as big as herself. Her performance exhibited a proficiency which, in one who has not been in existence more than the time that might be required to learn, was surprising. The simple airs were given not merely with accuracy, but with feeling; and, though the physical exertion which was required to strike many chords afforded some amusement, the easier movements were elegantly executed, and the soft notes fell with a liquid sweetness from her tiny fingers. The whole performance gave the highest satisfaction.”
The Liszts will leave England in about a week, returning to Paris.
Walker, Franz Liszt: The Virtuoso Years at 107-109