In the year that saw the production of Fidelio (November 20, 1805), Napoleon’s army was hastening toward Vienna. There was an exodus from the town of the nobility, merchants, and other residents. The vanguard of the French army entered on November 13. Those of the Viennese who would have appreciated the opera had fled the town. The theater was not well filled. Many in the audience were or had been officers in Napoleon’s army. The success of the opera was small. Only two performances followed the first. At the first and at the second the overture Leonore No. 2 was performed. Anna Pauline Milder, afterwards Mme Hauptmann, was the heroine. “The opera was hastily put upon the stage, and the inadequacy of the singers thus increased by the lack of sufficient rehearsals.” Beethoven had received the text in 1804. He worked on the music the following summer at Hetzendorf. On his return to Vienna, rehearsals were begun. In later years Fidelio was one of Anna Milder’s great parts: “Judging from the contemporary criticism, it was now [1805] somewhat defective, simply from lack of stage experience.”
Leonore No. 2 was the overture played at the first performance in Vienna. The opera was withdrawn, revised, and produced again on March 29, 1806, when Leonore No. 3, a remodeled form of No. 2, was the overture. There was talk of a performance at Prague in 1807. Beethoven wrote for it a new overture, retaining the theme derived from Florestan’s air, “In des Lebens Frülingstagen.” The other material in Nos. 2 and 3 was not used. The opera was not performed; the autograph of the overture disappeared. Fidelio was revived at Vienna in 1814. For this performance Beethoven wrote the Fidelio overture. We know from his diary that he “rewrote and bettered” the opera by working on it from March to May 15 of that year.
The dress rehearsal was on May 22, but the promised overture was not ready. On the 20th or 21st, Beethoven was dining at a tavern with his friend Bartolini. After the meal was over, Beethoven took a bill of fare, drew lines on the back of it, and began to write. “Come, let us go,” said Bartolini. “No, wait a while: I have the scheme of my overture,” answered Beethoven, and he sat until he had finished his sketches. Nor was he at the dress rehearsal. They waited for him a long time, then went to his lodgings. He was fast asleep in bed. A cup of wine and biscuits were near him, and sheets of the overture were on the bed and the floor. The candle was burnt out. It was impossible to use the new overture, which was not even finished. Schindler said a Leonore overture was played. According to Seyfried, the overture used was that to The Ruins of Athens.
The order, then, of these overtures, according to the time of composition, is now supposed to be Leonore No. 2, Leonore No. 3, Leonore No. 1, Fidelio. It was said that Leonore No. 2 was rewritten because certain passages given to the wood-wind troubled the players. Others say it was too difficult for the strings and too long. In No. 2, as well as in No. 3, the chief dramatic stroke is the trumpet signal, which announces the arrival of the Minister of Justice, confounds Pizarro, and saves Florestan and Leonore.
The Fidelio overture is the one generally played before performances of the opera in Germany, although Weingartner has tried earnestly to restore Leonore No. 2 to that position. Leonore No. 3 is sometimes played between the acts of the opera. The objection to this is that the trumpet episode of the prison will then discount the dramatic ending of the overture when it comes in the following act, nor does the joyous ending of the overture prepare the hearer for the lugubrious scene with the Florestan soliloquy. Bülow therefore performed the overture at the end of the opera. Zumpe did likewise in Munich. They argued with Wagner that this overture is the quintessence of the opera, “the complete and definite synthesis of the drama that Beethoven had dreamed of writing.” There has been a tradition that the overture should be played between the scenes of the second act.
The key of the Leonore Overture No. 3 is C major. A short fortissimo is struck. It is diminished by wood-wind and horns, then taken up, piano, by the strings. From this G there is a descent down the scale of C major to a mysterious F sharp. The key of B minor is reached, finally A flat major, when the opening measures of Florenstan’s air, “In des Lebens Frülingstagen” (Act II of the opera), is played. The theme of the allegro, C major, begins pianissimo, first violins and violoncellos, and waxes impetuously. The second theme has been described as “woven out of sobs and pitying sighs.” The working out consists in alternating a pathetic figure, taken from the second theme and played by the wood-wind over a nervous string accompaniment, with furious outbursts from the whole orchestra. Then comes the trumpet call off stage. The twice-repeated call is answered in each instance by the short song of thanksgiving from the same scene. Leonore’s words are: “Ach! du bist gerettet! Grosser Gott!” A gradual transition leads from this to the return of the first theme at the beginning of the third part (flute solo). The third part is developed in general as the first part and leads to a wildly jubilant coda.
OVERTURE TO “EGMONT,” OP. 84
Strange things have been done by conductors to Beethoven’s overture. We remember Franz Wüllner in Berlin slackening the pace in the allegro section when he came to the heavy chords that are supposed by some commentators, finders of sunbeams in cucumbers, to represent Alva, and then playing the chords with brutal emphasis and a long pause between them. Another conductor, no less a person than Arthur Nikisch, made a long hold on the short, incisive violin stroke just before the coda, and then brought the figure slowly down portamento. We doubt if he did this in later years.