Ludwig van Beethoven "Coriolan"
Ludwig van Beethoven is a German composer, the greatest musical genius, about whom many legends and myths were born during his lifetime. Without any hesitation, an outstanding maestro can be called a heroic personality, since the entire biographical path traversed by him is an example of a courageous struggle with misfortunes and obstacles that were considered insurmountable for others. Beethoven’s creative heritage is priceless and today is rightfully regarded as the center of classical music. The composer composed his outstanding works not only in previously known genres, but also created new ones, such as, for example, program overtures, which later gave rise to a ramified family of single-part compositions: fantasies, poems and paintings. One of these innovative creations was the overture "Coriolan" - a work that at present is considered to be one of the most daring compositions of musical Titan.
The history of the creation of the overture "Coriolan" by Ludwig van Beethoven, as well as interesting facts and musical content of the work, read on our page.
History of creation
To your thirty four years Ludwig van Beethoven not only in its homeland in Germany, but also outside of it, was known as a composer, bathing in the rays of glory. In the salons of European capitals it became fashionable to perform his chamber works. One French manufacturer, a connoisseur of the talent of the maestro, sent him a magnificent grand piano. The press constantly published articles praising the work of Beethoven, and in different cities there were groups of young people who promoted the works of his idol. Music publishers stood in line for new works by the composer. In addition, good relations with Prince Karl Likhnovsky allowed him to be financially independent: a philanthropist paid annually a talented musician for 600 florins. In the works of Ludwig everything was so good that he even stopped paying attention to his progressive deafness.
However, the year 1805 brought the composer considerable disappointment. Already in April, the first performance at the public concert of his Third Symphony caused public disapproval. Then in mid-November, the French troops, to whom the composer was very unacceptable, entered Vienna. Initially, Beethoven revered Napoleon as a heroic person, but after Bonaparte proclaimed himself emperor of France, the composer’s attitude to his idol changed dramatically. Ludwig was sharply disillusioned with him and perceived the self-protected Napoleon as an ordinary power-hungry and bloody tyrant. In addition, in the twentieth of November, failed premiere performances "Fidelio"- the opera on which Beethoven had high hopes.
Presumably in those days, the composer, to at least somehow dispel the failure of his new work, was visited by the court Burgtheater, where the presentation of the drama of Heinrich Collin "Coriolanus" took place. The author of the tragedy, noticing the famous composer, sat down in his box, and during the intermission turned to Beethoven with gratitude for his interest. The playwright gave Ludwig a little book with the text of the play, expressing the hope that the maestro would suddenly want to put it to music. Beethoven expressed his approving view of the drama, promised to think and suggested Collin to become friends. "Coriolan" really made such a strong impression on the composer that Ludwig during the performance could not refrain from tears.
Subsequently, Beethoven realized Collin's wish, but partially: he did not write an opera, but only an overture to his drama, and the creation of this work had a very complicated background. In September and October 1806, Beethoven stayed with his friend and patron Prince Lichnovsky, who had great sympathy for France and continued to favor the French even during the Napoleonic battles. After the defeat of the allied forces near Austerlitz, Hradec nad Moravicí, where the prince’s castle was located, was ruled by the conquerors. In October 1806, Likhnovsky, at dinner, in order to please the invited French general, a great music lover, promised to acquaint him with the famous Beethoven. However, in spite of the persistent persuasions of the grandee, the composer did not go out to the guests and left Hradec secretly from everyone on foot. Upon returning to Vienna, Beethoven felt very bad in his soul: his hearing deteriorated, there was no enlightenment in his personal life, a quarrel with his beloved brother Karl because of his hasty marriage, the death of Prince Louis Ferdinand, a defeated Germany, a quarrel with a benefactor and the subsequent deterioration of the material provisions. Here in such a not very good mood, the composer proceeded to compose the overture "Coriolan".
In those days, the political situation was tense and life in Vienna was now dependent on Napoleon's whims. Beethoven now and then began to make it clear that he did not deserve the favors of the imperial court. The maestro was refused to provide good concert halls. It did not help that the collegial leadership of the court theaters consisted of his friend Prince Lobkowitz. To help Beethoven and compensate for the scornful attitude on the part of the authorities, the nobleman in his palace in March 1807 organized two concerts from the works of the composer, among which the overture "Coriolan" was first performed. A month later, the work again sounded, but already in the Vienna Court Theater before the eponymous drama of Collin.
Interesting Facts
- Coriolan is such a cognomen (nickname) for the victory over the militant and freedom-loving people, which were called Volsk, and also for the conquest of the city of Corioli, who lived in the VI-V c. BC er the legendary Roman commander Gnaeus Marcius. Distinguished by courage in battles, the brave patrician hated plebeians. Because of such a scornful attitude towards the common people, he not only failed to get the post of consul - the highest official of the Roman Empire, but also to be expelled for life from his state. With dark thoughts of revenge, Martius went to the Vola and made an alliance with them against Rome. When Coriolan with the army besieged the city that had rejected him, the ambassadors were sent to the commander with the message that the Romans had forgiven him and canceled his decision. However, Martius sent them back. The commander did not succumb to the persuasions of the priests, and only when his mother, wife and children came to him, he gave in and led the troops away from the besieged city. In Collin's drama Coriolan, failing to resolve his spiritual tragic conflict, ends his life by suicide.
- The acts of "Coriolanus" interested many ancient historians and writers. The most famous of them was the Greek philosopher Plutarch, who in his work "Comparative biographies" recreated the images of prominent figures of Rome and Greece. This work formed the basis of the famous "Tragedy of Coriolan" by the great William Shakespeare.
- In Collin's drama, Coriolan ends his life as a suicide, in Shakespeare the commander for treason kills Volsky, and according to some ancient historians, the exile lived in a foreign land until old age.
- Overture "Coriolan" Ludwig van Beethoven dedicated to his friend Heinrich Joseph von Collin - the Austrian writer, author of the same drama, to which she was written as an introduction.
- During the life of Beethoven, the Coriolan overture was only once performed as an introduction to the Collin drama and several times as an independent concert work. However, the scores of the compositions were published by the publishing house only twenty-one years after the composer’s death as opus number 62.
- One of the benefactors of Beethoven, who provided the composer with substantial material support, was Prince Karl Likhnovsky. The composer, in gratitude to the patron of arts, dedicated several of his compositions, including the famous "Pathetic sonata"," Sonata №12 ","Symphony №3".
- Prince Karl Likhnovsky patronized not only Beethoven, but also Mozart. However, with that and with another musical genius, a noble grandeur, due to certain circumstances, had to be separated not in a friendly way. For example, Mozart so often, without any return, he borrowed money from the prince, so that Likhnovsky had to return them through the courts.
- The premiere performance of the drama Heinrich Collin "Coriolan" was held in November 1802. In it, the main role was successfully played by Mozart's brother-in-law Joseph Lange. Musical numbers from the opera Idomeneus by the great Wolfgang Amadeus Mozart were used as interludes in the performance.
Content
"Coriolan“- this is a musical composition, the content of which Beethoven filled with a special dramatic glow. From the beginning to the end, all the music of the overture, permeated with acute tension of sharply contrasted contrasts, is perceived as a continuous struggle of the main character with himself, as well as with the circumstances.
The work, written in the key of C minor with the author's temporal indication "allegro con brio" and enclosed in the form of a sonata allegro, has some peculiarities in its structure. Since all musical development in the overture is permeated by a single thread, its sections are closely related to each other. There are no developed developmental and connecting parts in the composition, however, the code and the entry into its dramaturgy play a significant role.
From the very first sounds of the work, the composer immerses the listener in the tense atmosphere of heart-rending contradictions. The overture opens with a gloomy unison sounding of the violin group, which is immediately stopped by hard chords of the whole orchestra. After three repetitions of these dramatic intonations, separated by meaningful pauses, as well as a couple of harsh imperative chord replicas, an agitated main part of the exposition begins on the piano, the melodic line of which is voiced violinsassertively rushes up. Intensively developing, she acquires the character of growing anxiety, and also is filled with despair and anxiety, but then second descending intonations, resembling moaning and pleading, appear in her subject. Further, the nature of music is changing contrast. After modulation into the parallel E-flat major key, the melodious and tender first section of the secondary part begins. The wide-flowing beautiful "arioso" performed by the violins sounds softly and lyrically against the background of an arpeggiated accompaniment. However, this enlightenment does not last long. The lyrical theme is replaced by another one, in which mournful intonations reappear. Sol minor key, bustling rhythm of chord texture with dissonant sound re-fill the music with tragic tension, which was most clearly manifested in the subsequent final party based on the motifs of the main part.
The development section of the overture, reflecting the increasing tragedy of the situation and the despair of the main character, who feels his own powerlessness, is very small. Built on the musical material of the final part, it is perceived as a continuation of the exposition.
The music of the overture acquires the highest emotional tension in a reprise, which begins after a clock pause. The special drama here is created by the chords from the intro, which accentedly cut into the timid, piano-playing motifs of the main part. The following first theme of the secondary part is still lyrical, tender and chanting, only in this passage does it sound in C major and octave doubling. The second theme of the side and thematic material of the final batch is superimposed on the organ point. This predetermines the value of the following codes, which begins after a long pause. In the final, all the previous topics are returned again, only in a different sequence. At first, getting a tragic shade, the collateral party sounds. Then, with a constant increase in tension and a sense of inevitability of the tragic outcome, it is changed by a theme based on the intonations of the final game. Appearing gloomy motives of the introduction and fragments of the main party announce the inevitable fatal outcome: the death of the protagonist. In the end, everything gradually subsides. A mourning mood reigns, which is emphasized by the final quiet pizzicato of strings.
"Music of Wrath" - so great Beethoven called his overture "Coriolan". In this work, characterized by unbridled emotionality, the composer, expressively depicting the tragic conflict of the protagonist with himself and with his destiny, clearly crosses the boundaries of the Viennese classical school and comes close to the romantic program symphonism, which will then be embodied by the next generation of composers.
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