Opus 20 Septet in E flat major for violin, viola, cello, double bass, clarinet, horn and bassoon
I) Adagio – Allegro con brio – II) Adagio cantabile – III) Tempo di menuetto – IV) Andante con variazioni – V) Scherzo – Allegro molto e vivace – VI) Andante con moto alla marcia – Presto
Opus 20 – Septet in E flat major for violin, viola, cello, double bass, clarinet, horn and bassoon op. 20, second half 1799 – first quarter 1800, dedicated to Empress Maria Theresa, published in detached parts in Leipzig, Hoffmeister and Kuhnel, June-July 1802; in the score in Paris, Pleyel, 1828. GA. no. 32 (series 5/1) – B. 20 – KH. 20 – L. I, p. 182 -N. 20 – P. 116 – T. 69
The original manuscript is preserved in the Deutsche Staatsbibliothek in Berlin. Sketches of the second, third, and fourth movements appear in the second of the two Grasnick notebooks described by Nottebohm.
The first public performance took place on 2 April 1800 at the Hofburgtheater in Vienna, during a concert organised by Beethoven himself for his own benefit. More than half the programme was dedicated to his own works, including the Concerto for Piano and Orchestra (probably the one in B-flat major, Op. 19), performed by Beethoven himself, the Septet, and the Symphony No. 1 in C major, Op. 21.
The work was extremely well received and remains one of Beethoven’s most popular chamber compositions, particularly emblematic of his early style. Numerous transcriptions and reductions have since been produced—some, such as Op. 38 for piano, clarinet (or violin), and cello, were made by Beethoven himself; others were recommended or tolerated by him, while others were entirely unauthorised.
It may have been precisely this widespread admiration—especially from audiences less enthusiastic about Beethoven’s more substantial later works—that led him to grow dismissive of the Septet. As Czerny reported to Otto Jahn, Beethoven eventually “could no longer bear it and became angry at the universal success it enjoyed.” Such a reaction is understandable when one considers the perspective of an artist striving for ever loftier goals, viewing his earlier compositions with a critical eye in retrospect. However, this does not diminish the intrinsic value of the work, which continues to retain its vitality today.
It is hardly necessary to recall the vivid impression Richard Wagner gives of the Septet in one of his early novels, describing a scene of itinerant musicians playing it for their own enjoyment in the open countryside. The slow introduction (Adagio) prepares the way for the Allegro, anticipating several of its thematic elements. The Allegro’s principal theme and its development constitute a complete movement in themselves, similar in structure to that of the First Symphony, though less vigorous in character. This allows greater space for the lyrical breadth of the second theme and its associated materials.
The melodic richness of the Adagio cantabile is heightened by the expressive interplay of the three wind instruments, whether in solo passages, in combination, or alternating with one another. The theme of the first section of the Minuet is rhythmically more marked and recalls the second movement of the Sonata for Piano Op. 49 No. 2. It also shares a certain similarity in motion with the corresponding movement of Clementi’s Sonata Op. 34 No. 2, composed in 1795. The Trio possesses a rustic joviality, particularly evident in the horn and clarinet exchanges, and in the character of the melody itself.
According to some scholars, the theme of the Andante is derived from a Rhenish folk song. Indeed, many years after the Septet’s composition, a poetic text by Anton Wilhelm Florentin Zuccalmaglio—“Ach Schiffer, lieber Schiffer”—was adapted to the melody. The individual variations convey a spirit of light-hearted amusement, each spotlighting a particular instrument or group of instruments.
In the fourth variation, set in the minor key, the horn—emerging from the violin’s anxious triplets in staccato, supported by a pointed bass line—shares a melancholy melody with the clarinet and bassoon.
The Scherzo is distinguished by its segmented instrumental phrasing, prefiguring stylistic features of the Scherzos in Beethoven’s Second, Third, and Fourth Symphonies. The Trio, assigned solely to the strings (with the double bass doubled by the bassoon), presents a contrasting dance motif of striking simplicity in the cello’s high register, joined at the close by the violin an octave above.
The final movement also opens with a short introduction—this time a sombre march in the minor key, where the horn plays a prominent role. The Presto follows with a breezy major theme introduced by the violin and then repeated and completed by the three wind instruments. (The theme’s cue is identical to that of the Arietta with Variations from Clementi’s Sonata Op. 24 No. 3.) Once again, the horn introduces the brief and decisive second theme with a typical descending call. Before the recapitulation, a short virtuosic violin cadenza provides an additional flourish. Throughout, the main theme retains its forward momentum, imbuing the finale with the festive and animated character of a “farewell” serenade.
The Septet is dedicated to Maria Theresa, the second wife of Emperor Francis I—an homage to the Empress, who was fond of music and often sang. A few years later, she would intervene to ease censorship restrictions surrounding the first performance of Fidelio.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Original title: Opus 20 Septett (Es-dur) für Klarinette, Horn, Fagott, Violine, Viola, Violoncello und Kontrabass Widmung: Marie Therese, Kaiserin von Österreich NGA VI/1 AGA 32 = Serie 5/1.
Conception and Publication: The earliest sketches related to Op. 20 appear on folios from 1798, though the full elaboration did not occur until the second half of 1799, shortly before its first performance on 20 December. The original edition, issued in separate parts, was published in June 1802 by Hoffmeister & Comp. in Vienna, and by Hoffmeister and Kühnel in Leipzig. The theme of the Minuet is derived from the second movement of the Piano Sonata Op. 49 No. 2. Carl Czerny mistakenly claimed it was based on a Rhenish folk tune— “Ach Schiffer, lieber Schiffer”, with lyrics published in 1838 in Deutsche Volkslieder by Kretzschmer and Zuccalmaglio, Vol. 1 (Berlin, 1838, No. 102)—but Beethoven’s melody likely predates this.
On 15 December 1800, Beethoven offered Op. 20 to his “Bruder in der Tonkunst”, Franz Anton Hoffmeister: „ich will in der Kürze also hersezen, was der Hr. B.[rüder] von mir haben können: 1 ein Septett for Violin, viola, cello, double bass, clarinet, como, bassoon, — all ob-ligati, (ich kann gar nichts unobligates schreiben, weil ich schon mit einem obligaten accom-pagnement auf die Welt gekommen bin.) Dieses Septett hat sehr gefallen, zum Haüfigern gebrauch könnte man die 3 Blaßinstrumente nemlich: bassoon, clarinet, und horn, in noch eine violin, noch eine Viola, und noch ein Cello übersezen“
On 15 January 1801, he reiterated the offer: „Septet, (wovon ich ihnen schon geschrieben, zu mehrere Verbreitungen und Gewinst ließ es sich auch auf’s Klawier arrangiren) […]> (Nb: das Septett besteht aus einem kurzen Eingangs-adagio, dann allegro, Adagio, Minuetto, Andante mit Variazionen, Minuetto, wieder kurzes Eingangs-adagio und dann presto)“
Hoffmeister accepted on 24 January. The score was delivered on 20 April (BGA 61). On 22 April, Beethoven announced the opus number and proposed a further arrangement: „es wäre recht hübsch, wenn der Herr Br. [uder] auch nebst dem daß sie das Septett so herausgäben dasselbe auch für Flöte z.B. als quintett arran-girten dadurch wurde den flöten liebhabern. die mich schon darum angegangen, geholfen, und sie würden darinn wie die Insekten herumschwärmen, und daran speißen.“
Beethoven’s arrangement of the Septet for piano trio (as op. 38) was offered to Hoffmeister in September 1802 by Kaspar Karl van Beethoven (BGA 1003). Ries’ statement that Beethoven arranged his Septet for a “Violin Quintet” (Wegeler/Ries p. 93) is a mistake. Beethoven always defended himself against unauthorized arrangements. He wrote in the Wiener Zeitung of October 27, 1802, and in the Leipziger Zeitung: Allgemeine musikalische Zeitung „Nachricht, [bzw. Anzeige.] Ich glaube es dem Publicum und mir schuldig zu sein, öffentlich anzuzeigen, daß die beiden Quintetten aus C dur und Es dur, wovon das eine (ausgezogen aus einer Simphonie von mir) bei Hrn. Mollo in Wien, das andere (ausgezogen aus dem bekannten Septett von mir Op. 20) bei Hrn. Hoffmeister in Leipzig erschienen ist, nicht Original-Quintetten sondern nur Übersetzungen sind, welche die Hrn. Verleger veranstaltet haben. — Das Übersetzen überhaupt ist eine Sache, wogegen sich heut zu tage (in unserem Zeitalter der Übersetzungen) ein Autor nur umsonst sträuben würde: aber man kann wenigstens mit Recht fordern, daß die Verleger es auf dem Titelblatte anzeigen, damit die Ehre des Autors nicht geschmälert und das Publicum nicht hintergangen werde. – Dies, um dergleichen Fällen in der Zukunft vorzubeugen. Ich mache zugleich bekannt, daß ehestens ein neues Original-Quintett von meiner Komposition aus C dur Op. 29 bei Breitkopf u. Härtel in Leipzig erscheinen wird. Ludwig van Beethoven.“
The title and dedication followed at the end of June (BGA 64). Publication was slightly delayed, partly because Ignaz Schuppanzigh wished to present the work as unpublished during a March 1802 concert tour in Dresden. Beethoven urged quicker release on 8 April 1802: „mein Septett schikt ein wenig geschwinder in die Welt —weil der Pöbel drauf harrt“. (BGA 84)
Op. 20 was finally published in June 1802 (BGA 93). After receiving five complimentary copies, Beethoven complained on 14 July 1802 that the work had been issued in two parts. However, this had been discussed a year earlier: on 22 July 1801, Hoffmeister wrote to his partner Kühnel:,, H.[err] v Beethoven wird mir zum Septetto, d[as] ich auch hier [d. h. in Wien] stechen lasse, noch 1 oder 2 Stüke neu verfertigen, um es sodan in 2 Theile zu theilen, und kaufrechter zu machen“.
Dedication: Marie Therese (not Theresia!), Empress of Austria, born June 6, 1772, Naples, died April 13, 1807, Vienna, daughter of King Ferdinand IV of Naples (1751–1825), second wife of Emperor Franz II (1768–1835), September 19, 1790. As a great lover of music, she had a vast music library and regularly gave private concerts in the imperial palace; as a matter of fact, she liked to accept dedications. Joseph Haydn wrote for Marie Therese, in 1799 or 1800, the Te Deum in C major, Hob. XXIIIC:2, and the “Theresienmesse,” Hob. XXII:12, which, on the other hand, was composed for Prince Esterhazy and not for the empress. Beethoven publicly dedicated his septet during his concert on April 2, 1800, two years before the original edition was published. The empress also owned a copy of the work from the late 19th century (see BGA 84), which she may have requested from Beethoven for her collection of septets. Salvatore Viganò, in his ballet “Die Geschöpfe des Prometheus,” for which Beethoven wrote the musical score in 1801 (op. 43), paid homage to Marie Therese as Patronin der Künste.
The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org
Opus 20 is part of the “Research Becomes Art” project.
A New Life for the Works of Ludwig van Beethoven: An Artistic Exploration by the ACCADEMIA DUCALE ENSEMBLE
Erminia Nigro, Clarinet
Marco Coviello, Bassoon
Tiziana Malagnini, Horn
Francesca Cicolecchia, Violin
Giuseppe Giugliano, Viola
Vito Stano, Cello
Giuseppe D’Amico, Double Bass
Live Video – Edited by Giovanni Claudio Traversi
Bibliographic acquisitions of the Centro Ricerche Musicali Beethoveniane lvbeethoven.org
“Quatrième Grand Quintetto pour deux violons, deux alto et violoncelle”. (Septett Es.Dur Opus 20).Paris, Janet et Cotelle, 1812 Plate 1594, from Pleyel’s plate of the previous year, PN 980. The edition was probably taken up by Imbault (1811) along with his entire production in 1812 and initially distributed unchanged as a “nouvelle edition”. Janet et Cotelle strip applied to the previous Pleyel edition, as can be seen by its removal. First edition.
And again…. Ave Maria by Maestro Ildefonso Jimeno de Lerma
from a theme of the Opus 20 septet
José Ildefonso Jimeno de Lerma (Madrid, 19 marzo 1842 - Madrid 16 novembre 1903) è stato un compositore ed organista spagnolo.
Allievo di suo padre Román Jimeno al Real Conservatorio de Madrid, a soli diciannove anni, raggiunse la posizione di maestro della cappella della cattedrale e di professore del Seminario di Santiago de Cuba dove rimase fino al 1886. Al suo ritorno dall’America lavorò come primo organista della Real Capilla de San Isidro e nel 1878 fu nominato direttore del Conservatorio di Madrid, carica che ricoprì fino al 1901.
Si distinse non solo come organista, ma anche come musicologo e lasciò scritte e pubblicate numerose opere di genere religioso caratterizzate da uno stile elevato e da una tecnica raffinata, come Bendita sea tu pureza: a grande orquesta, Ofertorio, plegaria y meditación: para órgano o Hymno á la Virgen. Pubblicò anche un libro: Estudios sobre música religiosa: el canto litúrgico, el órgano.
