A THEORETICAL WORK BY BEETHOVEN.
THE Leipzig Musical Gazette of a few weeks back, contains the annexed account of a publication which cannot but excite a strong interest in the whole musical world, and most likely will prove highly instructive. We are in daily expectation of a copy, and shall certainly lay portions of its contents before our readers. The title, as given in the German journal, is—Ludwig van Beethoven’s Studies in Thorough Bass, Counterpoint, and the Theory of Composition, collected from his Autograph MSS. and edited by the Chevalier Ignaz von Seyfried. Vienna. T. Haslinger. Price 2 th. 16 gr.
The anxiety, says the writer of the article, which prevailed among the numerous admirers of the great composer for the publication of this important work, is sufficiently apparent from the list of subscribers to it, the great number of whom enabled the publisher to adhere to the price originally fixed, although the book contained about ten sheets more than the first estimate allowed for it. The studies alone occupy 352 pages. We are then presented with a fac-simile of Beethoven’s writing, representing, in almost enigmatical characters, the first draft of the composition of his fine cantata Adelaide. After this are given prints of two medals in honour of him, the one struck at Vienna, the other at Paris. The appendix contains biographical notices, anecdotes, a transcript of the will, letters, an account of the obsequies, with the music, orations, poems, a drawing of his tombstone, and a systematic catalogue of all the original compositions of the great master. A very striking likeness of Beethoven precedes the whole. This slight sketch of the contents will at least have the effect of attracting to the work the attention of all those friends of the art who may, up to the present time, have remained in ignorance of its appearance. Who would not be anxious to observe for himself the manner in which our Beethoven formed his mind and cultivated his genius? It is not for us to say one word in recommendation of a work whose importance speaks for itself in the most forcible manner.
Much less occasion have we to criticise; for, in the present case, the question is not regarding the mode, but the substance, as it is presented to us, and the manner in which every one ought to avail himself of such a publication, and apply the conclusions which he may draw from it. We do not expect that, in our notice of the work, we can offer, except in a very few instances, any new views. However, it is to be supposed that a great number of those who would take an interest in the work are not yet in possession of it. For the benefit of such we here give the concise and appropriate preface of the editor, which adverts to most of what is necessary to be impressed on the mind in relation to the work itself:—
‘These studies of the great genius are to the whole musical world a valuable legacy, far too inestimable for any one to dare to risk the slightest alteration in them. I have, therefore, endeavoured with the utmost care to give every thing exact, and in the very order in which I found it. I have even, on most occasions, preserved the author’s own words and expressions. In those cases alone, however, where our persevering and indefatigable student had given numerous examples in illustration of one and the same rule, I considered myself at liberty to make an omission or abridgment, in order that the work might not be swelled out to an unnecessary bulk. [The information as to how many examples have been omitted, and in what part of the work, would have been acceptable to many.] What is here offered to the public cannot, by any means, serve as a systematic book of instruction, but is rather to be viewed as the course of study pursued by the great artist himself; and it affords incontrovertible proof, to those who have hitherto entertained doubts on the subject, that Beethoven dedicated the two last years of his musical education, with unwearying assiduity, to theoretical study, under the guidance of Albrechtsberger, his beloved mentor, and further, that he was master of the substance of all the rules, although in process of time his sublime genius cast off the slavish fetters; and his master-mind, soaring far beyond the standard of times past or present, disregarded so many which antiquity and invariable usage alone had hitherto entitled to religious observance as settled laws.’
It is certainly a very different thing when one man, who knows well what he is doing, advisedly, or with innate tact, occasionally transgresses a rule,—and when another, who has learned nothing, and is unwilling to learn anything, evinces his pretended originality in no other way than in the contempt of that of which he is actually ignorant. Were ignorance and presumption the only characteristics of genius, we should have no lack of it.
At the conclusion of the thorough-bass rules, page 74, is the following remark in a fac-simile of Beethoven’s hand-writing:—‘Dear friends, I took all these pains merely to be enabled to figure thorough-bass correctly, and hereafter to point out to others any faults they might commit: for myself, I hardly had occasion to learn this at any time; I had from my childhood so nice a feeling, that I observed all the established rules without knowing that what I did should be so or could well be otherwise.’
So important are these studies, and so attractive are the numerous but too few notices from his life, to which fact it is scarcely necessary for us to bear witness, that an adequate idea of its full value cannot be formed but from the work itself entire.
THE NEW GERMAN OPERA OF FORTUNATUS.
THE Musical Gazette of Leipzig contains the following detailed account of a new opera lately produced in that city, which, if its merit be at all commensurate with the encomiums bestowed on it, cannot but be a work of uncommon ability. Granting that the writer had listened to this with very favouring ears—that he may have been biassed by partiality of some kind, yet if he is in any degree to be relied on—and we have no reason to doubt his general fidelity—the opera he thus praises in so almost unqualified a manner must possess many pieces of no ordinary excellence, and is worth being further inquired into by the managers of our theatres. The critique has the German defect of verbosity; we therefore have considerably abridged it. The writer accompanies his remarks with two airs as specimens of the melodies; the first of which will be found in the musical portion of our present number.
Fortunat mit dem Säckel und Wunschhutlein, (Fortunatus with the Purse and Wishing-cap,) an Opera composed by SCHNYDER, of Wartensee; the Drama by GEORG DORING. Performed, for the first time, at Frankfort on the Maine.
M. Schnyder, of Wartensee, well known to the public by many valuable musical works, has here attempted dramatic composition with particular success, and charmed us by an abundance of very excellent music. He is a man rich in musical ideas; his productions are frequently original, always clear and melodious, and, at the same time, of a rare correctness. His airs are pleasing, and often very delicate; his choruses powerful and full of dramatic effect. Above all, the opera bears the stamp of considerable thought, (particularly as regards harmony,) and of cultivated taste and great judgment. It presents plan, unity, good keeping in the different characters, and displays poetic elevation of no ordinary description. His harmony, frequently peculiar to himself, is not to be termed mere accompaniment to the melody; it may be considered as exhibiting a manner particularly his own of enlarging the means of musical expression, or of employing the rich store of musical colouring.
In his instrumental pieces, the progressions unfold many entirely new ideas; he modulates with caution, but at the same time naturally, and a rude transition is nowhere to be met with. It is true that we sometimes encounter laboured, lengthy passages, and obsolete forms of melody; the latter, however, considered with reference to situation, probably not unintentionally introduced. An analytical review of the opera is subjoined, that it may be more justly estimated.
The overture begins with a characteristic subject, which is afterwards introduced whenever the Wishing-Cap is at work. To this succeeds a soft piece, in the choral style, for the wind instruments, (motivo of the chorus of the Genii attendant upon Fortuna,) in which the first subject is gradually interwoven into the parts assigned to the stringed instruments. After a novel progression of harmony—where the chord of the dominant seventh of E
major, breathed, as it were, pianissimo by the clarionets and bassoons alone, succeeds the chord of the dominant of C minor given fortissimo by the whole orchestra—the Allegro commences. A graceful, light theme, in contrast with the significant romantic introduction, gives notice that we are to expect a comic opera, in which the marvellous and fantastic spirit of a fairy-tale is blended with the humorous. A profusion of unlooked-for imitations, an attractive motivo, the interesting and striking management of the inner parts, together with an excellent employment of the brass instruments, distinguish this piece, and the introduction of three trombones towards the end imparts great force and life to the conclusion.
No. 1. Duet (as introduction) between the two lovers, Fortunatus and Alide, daughter of Claudio, king of Cyprus. The melody, tender and affectionate; the accompaniment corresponding. In this, the passage where Fortunatus, accompanying himself on the guitar, sings the words[4], ‘Im Haine klagt’s,’ deserves particular mention—an excellent air, tender in melody, and of most beautiful effect. While Fortunatus is declaring his passion to Alide, they are surprised by the king, his cousin Agrippina, and her brother Pedro. The king threatens Fortunatus with death, and sends him to prison in the custody of Carlino, a courtier. The duet merges into a concerted piece of considerable importance, in which the characteristics of the different persons and their respective feelings are depicted with great dramatic effect. The lovers are doomed to separate, and the introduction appropriately closes with the lovely bars of the opening of the duet, expressing their hopes of seeing each other again.
No. 2. A Duet between the King and Pedro. The latter conceitedly enumerates his good qualities, which the king listens to with satisfaction. The boastings of Pedro are humorously expressed by some original trumpet passages, while the insignificance and frivolity of his majesty are happily marked by triplets.
A great contrast to this is shown in the Aria No. 4, which Fortunatus sings, under the impression that he is to languish his days in prison. This scene, together with the subsequent appearance of Fortuna, we consider the gem of the Opera. A solo for the violoncello is introduced here; the few bars of which, if entrusted to an able player, are calculated to express the bitterest anguish and the deepest despair. The sweet melody which follows is highly favourable for the display of the singers’ talent. Fortunatus expresses the grief of separation, but Hope whispers that he will be liberated by a superior power. The Sombre F minor gives way to the tranquil A
major, and the melancholy sounds of the violoncello are succeeded by the cheering tones of the violin, which now steps in with a solo. A gentle sleep, produced by magic, then steals on Fortunatus, and the chord of E major, softly breathed by the wind instruments, hints already the approach of Fortuna, who shortly afterwards appears with her genii, singing tender choruses; bestows on Fortunatus her gifts—the wishing-cap and ever-full purse—then disappears. As Fortunatus awakes, the key of E major suddenly changes again into A, and the transition gives to the whole situation a dream-like character. Fortunatus is now free, and the orchestra bursts out fortissimo, with all its brass instruments and drums, and seems to revel with the happy youth, who can scarcely calculate the extent of his good fortune. He now wishes himself in Famagusta’s rich market-place; the scene changes, and the dealers of all kinds sing a popular air, No. 5, extolling their wares. Carlino appears, banished from the court on the suspicion of being the cause of Fortunatus’s escape, and sings a song, No. 6[5].
No. 7. Finale is comic throughout. King Claudio appears with the two ladies, Pedro, and attendants. Fortunatus, recognized by Alide alone, attracts the attention of the king by the splendour of his dress. Pedro makes inquiries respecting him of Carlino, who has entered the service of Fortunatus. When the king is told that the stranger is Count Minian of Flanders, and that he is worth ten millions, his joy knows no bounds, and he invites him immediately to the palace. The music of the Finale is lively, dramatic, and well put together; the chorus at the conclusion, however, borders on the trivial. The scene in which Fortunatus is presented to the king by Pedro (tempo di minuetto) is highly diverting, the melody is in the antique stiff style, and at the end, four bars universal rest can scarcely fail to draw from the audience a burst of laughter.
Second Act.—Fortunatus has been victorious in the tournament. The king greets the rich Count of Flanders, in the presence of the whole court, as his intended son-in-law. Pedro, too, for his valour in the tournament, receives from the king a scarf. This forms the subject of the chorus No. 8, of which it may be said, that it is powerful and effectively written, and the solo parts are in true character. Fortunatus acquaints Alide with the properties of the magic gifts, and is overheard by Agrippina.
No. 9. A very beautiful duet between Fortunatus and Alide commences. The motivo is uncommonly sweet, and the whole piece is calculated for the display of vocal talent.
No. 10. Aria of Agrippina, almost in the bravura style. Agrippina has revealed everything to her brother, and they resolve to despoil Fortunatus of his magic gifts.
No. 11. Terzet between Agrippina, Pedro, and Fortunatus. This and the following aria of Alide are the weakest pieces in the opera; the colouring and inspiration, more or less conspicuous in the other pieces, are wanting here. It should, however, be remarked that the action of the drama begins to drag in the second act, and that no situation predominates that is deserving of distinguished musical treatment, except the finale, No. 13. Fortunatus, deprived of his talismans, and wandering about in a rocky glen, deplores his fate. He relates how Agrippina and Pedro bereft him of his magic gifts. To quench his thirst he plucks an apple from a tree, on the tasting of which he becomes as black as a negro. His good genius, however, directs him to pluck an apple from the opposite tree, the taste of which dissolves the spell. Upon this, he forms a plan for avenging himself, and recovering his lost treasures. The finale begins with an aria in C minor, in which Fortunatus expresses his eagerness for revenge. He plucks the apples which turn black such as taste them; but on gathering those which restore the original colour, and the effect of which is, therefore, just the reverse, the orchestra plays the same musical phrase reversed. The choruses of male and female gardeners are of a pastoral character. The awful passage of the horn solo when Fortunatus appears under the guise of a magic spirit, and which is introduced with great effect as a second melody, simultaneously with the peculiar subject which accompanies the plucking of the apples, forms a striking contrast to the chorus of the courtiers, who assent to the king’s remarks, and laugh at every stupid joke he utters. Agrippina and Pedro, tasting the apples, become black. General consternation ensues. The king curses the place, and the scene closes with a chorus.
No. 14. The commencement of the third act re-introduces the opening chorus of the first act. Fortunatus then appears as a Quack Doctor, and takes Carlino into his service as Punch. Pedro, understanding that the Doctor possesses unfailing remedies for diseases of the skin, is in hopes, through his means, to retrieve his lost colour.
Now begins No. 15, a terzet between Fortunatus, Carlino, and Pedro, during which the latter, by eating the healing apples, (the same musical phrase being played at the time which expressed the plucking of them,) recovers his complexion. The whole scene of the disenchantment is very original and dramatically written. Pedro hastens to his sister with Fortunatus to effect her cure also.
No. 16. Aria of Alide, who attempts to console her cousin Agrippina; full of melody, and concertante for the oboe, and of exquisite effect.
No. 17. Duet between Agrippina and Fortunatus. The latter being introduced by Pedro to his sister in order to accomplish her cure, obtains possession of the Wishing-Cap and Purse, and, grasping Agrippina, wishes himself and her in a convent on the coast of Sicily, where he compels her to pass the remainder of her days. This duet, with the chorus belonging to it, forms one of the most original and effective situations in the opera. Behind the scenes the nuns chaunt an old choral hymn, a piece of sacred harmony still sung in convents; to which, with the accompaniment of the orchestra, the above two sing the duet, wherein the violent and wicked character of Agrippina reaches its climax. The chorus is treated as canto fermo, and the dramatic air proceeds with it, free and unshackled; it is a composition worthy the highest praise. Agrippina takes the veil, and the invisible chorus finishes with an AMEN.
No. 18. Aria with concerted parts. Alide is to be united to Pedro. The King announces this in a pompous aria to the people, who express their joy. Here is introduced a very fine march. Fortunatus appears, unmasks the villain Pedro, and marries Alide. The opera closes with a concerted movement.
The representation of this work in Frankfort was admirable. M. Schmetzer, as Fortunatus, had ample opportunity to display his magnificent voce di petto. Demlle. Lampmann also proved very successful in the character of Alide. The getting up was worthy the theatre, and the applause unqualified.