Book contents
- Frontmatter
- Dedication
- Contents
- Preface
- Chronological Bibliography of Books, Articles, Book Chapters, and Musical Editions by Lewis Lockwood
- Acknowledgments
- Introduction
- Part One A Creative Life
- 1 Of Deserters and Orphans: Beethoven's Early Exposure to the Opéras-Comiques of Monsigny
- 2 “A Really Excellent and Capable Man”: Beethoven and Johann Traeg
- 3 A Four-Leaf Clover: A Newly Discovered Cello, the Premiere of the Ninth Symphony, Beethoven's Circle of Friends in Bonn, and a Corrected Edition of the Song “Ruf vom Berge,” WoO 147
- 4 “Where Thought Touches the Blood”: Rhythmic Disturbance as Physical Realism in Beethoven's Creative Process
- 5 The Sanctification of Beethoven in 1827–28
- Part Two Prometheus / Eroica
- 6 The Prometheus Theme and Beethoven's Shift from Avoidance to Embrace of Possibilities
- 7 Beethoven at Heiligenstadt in 1802: Deconstruction, Integration, and Creativity
- 8 “Mit Verstärkung des Orchesters”: The Orchestra Personnel at the First Public Performance of Beethoven's Eroica
- Part Three Masses
- 9 “Aber lieber Beethoven, was haben Sie denn wieder da gemacht?” Observations on the Performing Parts for the Premiere of Beethoven's Mass in C, Opus 86
- 10 Heart to Heart: Beethoven, Archduke Rudolph, and the Missa solemnis
- 11 God and the Voice of Beethoven
- Part Four Quartets
- 12 “So Here I Am, in the Middle Way”: The Autograph of the “Harp” Quartet and the Expressive Domain of Beethoven’s Second Maturity
- 13 Meaningful Details: Expressive Markings in Beethoven Manuscripts, with a Focus on Opus 127
- 14 The Autograph Score of the Slow Movement of Beethoven’s Last Quartet, Opus 135
- 15 Early German-Language Reviews of Beethoven's Late String Quartets
- Part Five Explorations
- 16 Three Movements or Four? The Scherzo Movements in Beethoven's Early Sonatas
- 17 Utopia and Dystopia Revisited: Contrasted Domains in Beethoven's Middle-Period F-Major and F-Minor Works
- 18 Schooling the Quintjäger
- 19 Cue-Staff Annotations in Beethoven's Piano Works: Reflections and Examples from the Autograph of the Piano Sonata, Opus 101
- 20 Another Little Buck Out of Its Stable
- 21 Beethoven's Cavatina, Haydn's Seasons, and the Thickness of Inscription
- List of Contributors
- Index of Works by Beethoven
- General Index
8 - “Mit Verstärkung des Orchesters”: The Orchestra Personnel at the First Public Performance of Beethoven's Eroica
Published online by Cambridge University Press: 17 September 2020
- Frontmatter
- Dedication
- Contents
- Preface
- Chronological Bibliography of Books, Articles, Book Chapters, and Musical Editions by Lewis Lockwood
- Acknowledgments
- Introduction
- Part One A Creative Life
- 1 Of Deserters and Orphans: Beethoven's Early Exposure to the Opéras-Comiques of Monsigny
- 2 “A Really Excellent and Capable Man”: Beethoven and Johann Traeg
- 3 A Four-Leaf Clover: A Newly Discovered Cello, the Premiere of the Ninth Symphony, Beethoven's Circle of Friends in Bonn, and a Corrected Edition of the Song “Ruf vom Berge,” WoO 147
- 4 “Where Thought Touches the Blood”: Rhythmic Disturbance as Physical Realism in Beethoven's Creative Process
- 5 The Sanctification of Beethoven in 1827–28
- Part Two Prometheus / Eroica
- 6 The Prometheus Theme and Beethoven's Shift from Avoidance to Embrace of Possibilities
- 7 Beethoven at Heiligenstadt in 1802: Deconstruction, Integration, and Creativity
- 8 “Mit Verstärkung des Orchesters”: The Orchestra Personnel at the First Public Performance of Beethoven's Eroica
- Part Three Masses
- 9 “Aber lieber Beethoven, was haben Sie denn wieder da gemacht?” Observations on the Performing Parts for the Premiere of Beethoven's Mass in C, Opus 86
- 10 Heart to Heart: Beethoven, Archduke Rudolph, and the Missa solemnis
- 11 God and the Voice of Beethoven
- Part Four Quartets
- 12 “So Here I Am, in the Middle Way”: The Autograph of the “Harp” Quartet and the Expressive Domain of Beethoven’s Second Maturity
- 13 Meaningful Details: Expressive Markings in Beethoven Manuscripts, with a Focus on Opus 127
- 14 The Autograph Score of the Slow Movement of Beethoven’s Last Quartet, Opus 135
- 15 Early German-Language Reviews of Beethoven's Late String Quartets
- Part Five Explorations
- 16 Three Movements or Four? The Scherzo Movements in Beethoven's Early Sonatas
- 17 Utopia and Dystopia Revisited: Contrasted Domains in Beethoven's Middle-Period F-Major and F-Minor Works
- 18 Schooling the Quintjäger
- 19 Cue-Staff Annotations in Beethoven's Piano Works: Reflections and Examples from the Autograph of the Piano Sonata, Opus 101
- 20 Another Little Buck Out of Its Stable
- 21 Beethoven's Cavatina, Haydn's Seasons, and the Thickness of Inscription
- List of Contributors
- Index of Works by Beethoven
- General Index
Summary
Beethoven played it [his new Symphony] for me recently, and I believe that heaven and earth will tremble when it is performed.
—Ferdinand Ries, Vienna, to Nikolaus Simrock, Bonn, October 22,1803By the time that Ferdinand Ries penned these words, Beethoven's Eroica Symphony had been developing in the composer's mind and on paper for over a year. As a result of his successful Akademie at the Burgtheater on April 2, 1800, Beethoven had been commissioned by Vienna's court theaters to compose a ballet, Die Geschöpfe des Prometheus (The Creatures of Prometheus), which premiered at the Burgtheater on March 28, 1801. It was a typical half-evening ballet, customarily paired with a comic Singspiel or other light entertainment. Prometheus was, however, the first major score in which Beethoven could compose passages to showcase specific orchestral musicians, something that his teacher Haydn had often done. Thus it features solos for flutist Joseph Prowos (b. 1752–53; d. 1819), oboist Georg Triebensee (1746–1813), clarinetist Johann Stadler (1755–1804), basset-hornist Anton Stadler (1753–1812), bassoonist Franz Czerwenka (1745–1801), harpist (and imperial family music mistress) Josepha Müllner (1768–1843), timpanist Anton Eder (ca. 1753–1813), and cellist Joseph Weigl, sr. (1740–1820). Indeed, Haydn had composed his Cello Concerto in C for this same Weigl nearly forty years before. Beethoven seems to have avoided composing any solos for concertmaster Giacomo Conti (1754–1805), who had been a subject of contention in connection with his benefit Akademie at the Burgtheater on April 2, 1800.
Beethoven's Creatures of Prometheus enjoyed a respectable run through the end of August 1802. Thereafter, Beethoven may have received the orchestral parts, but in any case he made a suite from the ballet available to his colleague Ignaz Schuppanzigh (1776–1830), who conducted the summer morning concerts in the Augarten.
Beethoven's Symphony no. 11/2 (Prometheus)
With newspaper and journal coverage of such events still sporadic, we might never have known about this development, except that on January 22, 1803, Beethoven's arrogant and presumptuous younger brother Carl, who often served as his business agent, wrote from Vienna to the publisher Breitkopf & Härtel in Leipzig, offering the unperformed Symphony no. 2 in D and Piano Concerto no. 3 in C Minor.
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- Information
- The New BeethovenEvolution, Analysis, Interpretation, pp. 161 - 202Publisher: Boydell & BrewerPrint publication year: 2020