Opus 117 – “König Stephan”, overture and incidental music for narrator, chorus and orchestra
Ouverture (Andante con moto) – I) Chor (Andante maestoso e con moto) II) Chor (Allegro con brio) – III) Siegsmarsch (Feurig und Stolz) – IV) Chor (Andante con moto molto grazioso alla ungarese) – V) Melodrama – VI) Chor (Vivace) VII – IX Melodarama – X) Geistlicher Marsch (Moderato) – XI Chor (Molto allegro e con brio – XII) Melodrama und Chor – XIII) Grave risoluto e ben marcato – XIV Andante con moto – XV) Agitato – XVI) Allegro – XVII) Maestoso – XVIII) Chor (Presto)
Opus 117 – “König Stephan oder Ungarns erster Wohlthäter”, or The First Benefactor of Hungary: overture and incidental music for narrator, chorus, and orchestra, in celebration of the opening of the German Theatre in Pest, Op. 117, 20 August – mid-September 1811. Published: the overture (score and orchestral parts, in two volumes) in Vienna, Steiner, July 1826; the entire work in score in the GA., 1864. GA. no. 270/è (series 20/4) – B. 117 – KH. 117 – L. IV, p. 127 – N. 117 – T. 167. The original manuscripts are held at the Deutsche Staatsbibliothek in Berlin.
For the opening of the German Theatre in Pest, the following performances took place on 9, 10, and 11 February 1812: a prologue (Vorspiel) titled “König Stephan oder Ungarns erster Wohlthäter” for narrator, chorus, and orchestra, with a text by Kotzebue; a historical scene in one act, “Die Erhebung von Pest zur Königlich Freie Stadt” (The Elevation of Pest to a Free Royal City), by another author; and the epilogue (Nachspiel): “Die Ruinen von Athen” (The Ruins of Athens) also for narrator, chorus, and orchestra, again with a text by Kotzebue. Beethoven was entrusted with composing the music for the prologue and epilogue, which he completed, it seems, in just over three weeks (from 20 August to mid-September 1811) during his stay at the spa in Teplitz, Bohemia.
It is an occasional work, and this certainly does not contribute to it being considered one of the major creations of the master; however, it is interesting for its colorful elements—based on Hungarian folk themes and styles—which emerge both in the overture and in some of the scenic episodes, as well as for its use of melodrama (recitative with instrumental commentary), sometimes even quite extended. This form of theatrical music had been used by Beethoven sparingly until then, expressively, in the prison scene of Fidelio. The poetic text somewhat pompously celebrates the deeds of Saint Stephen (997–1038), who, after defeating the still-barbaric neighboring peoples and Christianizing Hungary, gave the country the form of a state, becoming its king and setting it on the path of progress that, through the work of his successors, would eventually bring it (according to the celebratory idea of the poet) to its present greatness, under the sovereignty of Emperor Francis I of Austria.
Overture:
Andante con moto.
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, timpani, strings.
It cannot be compared to the overtures of Leonora, Coriolanus, or Egmont. It rather has a festive and brilliant character, rich in color. In the Andante, beginning with a sequence of fourth intervals, like a preliminary tuning of some typical instrument, the theme is introduced, which in a later section (No. IV: Andante con moto all’ongarese) will serve as the basis for a female choir. The Presto unfolds over a syncopated theme, which will reappear in the final chorus, and it has the character of a czárdás. The overall form is the usual classical one.
I. Men’s Chorus (Tenors and Basses): “Ruhend von seinen Thaten” (Resting from his deeds). Andante maestoso e con moto.
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trombones, strings.
The Hungarian nobles, gathered in council, pay homage to Prince Stephen and praise his merits.
Recitative: The prince responds to their greeting and celebrates the introduction of Christianity in Hungary.
II. Chorus Acclamation (Tenors and Basses): “Auf dunklem Irrweg in finstern Hainen wandelten wir” (We wandered in dark forests on a false path). Allegro con brio.
Orchestra: piccolo flute, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, 3 trombones, strings.
Recitative: A warrior comes to announce the fall of Moglut with the capture of numerous prisoners, including the feared leader Gyula.
III. Victory March.
Orchestra: piccolo flute, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, bass trombone, strings.
A characteristic coloristic page that, starting with just a few instruments (bassoons, horns, timpani) in piano, builds up through a crescendo to a fortissimo of the entire orchestra, with a marked rhythmic accentuation. The victors parade; among them, the chained prisoners, including Gyula.
Recitative: Stephen frees Gyula from his chains and declares him free. Gyula throws himself at his feet, professing eternal gratitude and loyalty. A messenger announces the arrival of Gisella, daughter of the King of Bavaria and promised bride of Stephen.
IV. Women’s Chorus (Sopranos I and II): “Wo die Junschuld Blumen streute” (Where innocence scattered flowers).
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, strings.
A procession of young girls enters, dancing, followed by Gisella, veiled and surrounded by her ladies-in-waiting. The music is based on the theme of the introductory Andante from the overture. A fine orchestral texture; notably, the accompaniment figure of the strings in pizzicato, lightly supported by some wind instruments joining the melody (mainly the flute), which is then complemented by the undulating choir.
V. Melodrama: “Du hast dein Vaterland, dein Fürstenhaus verlassen” (You have left your homeland, your princely house).
Orchestra: strings, later adding 2 oboes, 2 bassoons, 2 horns.
Stephen and Gisella exchange affectionate promises.
VI. Full Chorus: “Eine neue strahlende Sonne” (A new radiant sun).
Orchestra: 2 flutes, 2 oboes, 2 bassoons, 4 horns, strings.
The people joyfully greet Gisella and pay homage to her.
VII. Melodrama – Recitative – Orchestral Episodes.
Stephen: “Ihr, edlen Ungarn!” (O you noble Hungarians!). Maestoso con moto.
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, 3 trombones, strings.
Stephen solemnly addresses the Hungarian nobles, handing them the written laws that will govern the country.
VIII. Spiritual March.
Orchestra: strings, with horns joining at the end.
A procession of ancient Romans enters, bearing a golden crown.
Recitative: One of the Romans says that the Angel of God has guided them to Stephen to bring him this crown from the sacred, distant walls of Rome; and all salute Stephen as king.
Chorus: “Heil unserm König!” (Hail to our King!).
Orchestra: 2 flutes, 2 oboes, 2 bassoons, strings.
Melodrama: Stephen declares that the crown will be passed down to his descendants, and he will devote himself entirely to the good and glory of the Hungarians.
Orchestra: strings.
Chorus: repeats: “Heil unserm König!” (Hail to our King!).
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, 3 trombones, strings.
Melodrama: Stephen has a vision of the future greatness of Hungary under the reign of his successors, all the way to the reigning Emperor Francis I of Austria. This is an impressive musical moment for the crescendo of the instrumental mass that accompanies the declamation, building up to the full orchestral sound (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, 3 trombones, strings) with an increasingly rapid rhythm, leading appropriately into…
IX. Final Chorus: “Heil unsern Enkeln!” (Hail to our grandchildren!).
A grandly developed section, equally supported by the full orchestra (as in the previous, excluding the three trombones), in which the rhythm of the Presto from the overture reappears.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 117 Musik zum Fest-Vorspiel „Ungarns erster Wohltäter“ („König Stephan“) von August Friedrich Ferdinand von Kotzebue für Chor und Orchester Widmung: — NGA IX/8 AGA 207b = Serie 20/4, Ouvertüre nochmals 23 = Serie 3/6
Composition and Publication: The incidental music was composed alongside Op. 113 between the end of August and mid-September 1811 in Teplice. The Siegesmarsch No. 3 was likely written after the middle of September of the same year. The original edition of the overture, in full score and parts, was published around July 1826 by Steiner & Comp. The complete score of the work was not published until 1864 as part of the Allgemeine Ausgabe (AGA) by Breitkopf & Härtel in Leipzig.
Probably in May 1811, after Heinrich Joseph von Collin had declined, August von Kotzebue was commissioned to write the plays for the inauguration of the new German theatre in Pest. Around mid-July 1811, he delivered the texts to the theatre (letter to Beethoven, 20 April 1812: „nun vor fast 3A Jahren schon die begehrten Stücke“ were sent to Pest; BGA 573). Kotzebue was to compose a trilogy on themes from Hungarian history, consisting of „einem Vorspiele mit Chören, einem eigentlichen Drama und einem Nachspiele mit Gesängen“ (Der Sammler, 18 February 1812). The prelude was „Ungarns erster Wohltäter“, the postlude „Die Ruinen von Athen“.
While the prelude and epilogue were finally performed on 9 February 1812, the drama „Belas Flucht“ was not staged, as it was thought to parallel Emperor Francis I’s repeated flights from Vienna during the Napoleonic Wars. It was replaced by the historical drama „Die Erhebung von Pesth zur königlichen Freistadt“ by an as yet unidentified author.
In a letter to Breitkopf & Härtel dated 9 October 1811, Beethoven described how he received the commission to compose the incidental music Op. 113 and 117, and how he carried it out: „indem [ich] in meinen Wagen steige Nach Tepliz zu reisen erhalte ich ein Paket von ofen, mit dem ersuchen für die pesther Eröfnung des Neuen Theaters etwas zu schreiben, nachdem ich 3 Wochen in T.[eplitz] zu gebracht mich leidlich befand, seze ich troz dem Verboth meins Arztes hin, um den Schnurbärten, die mir von herzen Gut sind, zu helfen, schicke am 13ten September mein paket dorthin ab, in der Meynung daß den lten 8ber die Sache vor sich gehn solle, derweil verzieht sich die ganze Sache nun noch über einen ganzen Monath, den Brief, worin mir dieses angedeutet werden sollte, erhalte ich durch Mißverständnisse erst hier [in Wien], und doch bestimmte mich doch auch dieses TheaterEreigniß wieder nach Vien zu gehen“ (BGA 523).
According to the “Anzeiges-Protocoll” of the city of Teplice, Beethoven stayed there from 4 August to 19 September 1811 and therefore probably composed both works between late August and mid-September. Contrary to previous assertions, the parcel to Pest was not sent on Friday 13 September, but only on Monday 16 September (BGA 525). The theatre’s opening was originally planned for the Emperor’s name day, 4 October 1811, but was postponed to 9 February 1812.
In March 1815, Beethoven (together with Johann Häring) approached George Smart, asking him to find a publisher in London for an entire group of works. Among these were the overtures Op. 113, 115, and 117, which Beethoven had already sent to Sigmund Anton Steiner and sold in Vienna, with England expressly excluded from the contract. They were not published in England, as Charles Neate purchased the three overtures for the Philharmonic Society of London in July. In a certificate dated 5 February 1816, Beethoven pledged not to have the parts or scores of these works printed.
In all cases, he reserved the right to renegotiate this with the Philharmonic Society within a year or two. Charles Neate presented the overtures to the Society in London at the beginning of March 1816. Ferdinand Ries reports: „Ja selbst, als ich nach vieler Mühe bei der philharmonischen Gesellschaft in London es dahin gebracht hatte, daß ich drei Ouverturen bei ihm für diese bestellen konnte, die ihr Eigenthum bleiben sollten, schickte er mir drei, wovon wir, bei Beethoven’s großem Namen und in diesen Concerten auch nicht eine aufführen konnten, weil Alles gespannt war und man von Beethoven nichts Gewöhnliches forderte. Er ließ alle drei einige Jahre nachher stechen und die Gesellschaft fand es nicht der Mühe werth, sich darüber zu beklagen. Die Ouverture zu den Ruinen von Athen [Op. 113] war dabei, die ich seiner unwürdig halte“ (Wegeler/Ries, p. 125).
Text: August Friedrich Ferdinand von Kotzebue (1761–1819).
The libretto was printed for the inauguration of the new German theatre in Pest on 9 February 1812: „Ungerns erster Wohlthäter. / Ein Vorspiel mit Chören. / Zur Eröffnung des neuen Theaters / in Pesth / verfaßt / von / August von Kotzebue; / in Musik gesetzt / von / Ludwig van Beethoven. / Aufgeführt den 9. Febr. 1812. / Pesth 1812.“
Thus, the text was available to Beethoven in manuscript form during composition. The patriotic content of the prelude centres on King Stephen, patron saint and national hero of Hungary, who introduced centralised royal government and the state church at the beginning of the eleventh century. Kotzebue skilfully combines Hungarian heroism with an homage to the reigning power, the Habsburg monarchy. The alternative title “König Stephan” was introduced only in printed editions from 1822 onwards.
First performance: 9 February 1812, at the inauguration of the new German theatre in Pest.
The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org
