Opus 124 Overture to Die Weihe des Hauses, dedicated to Prince Galitzin.
Maestoso e sostenuto – Allegro con brio
Overture to Die Weihe des Hauses, dedicated to Prince Galitzin. September 1824; published in full score and separate parts in Mainz by Schott, 1825.
GA no. 24 (Series 3/7) – B. 124 – KH. 124 – L. IV, p. 160 – N. 124 – T. 234. Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings.
The original manuscript is preserved in the Vienna City Library. The sketches were examined in depth by Nottebohm, who first reproduced one that was ultimately left unused, along with others that hint at a different Allegro altogether, leading him to conclude that—while the introductory Maestoso remained fixed—the overture was originally conceived along different lines.
That Beethoven had from the outset envisaged a fugal development is also suggested by Schindler (III, II, p. 7), who recounts that the composer spoke to him of two themes: one to be developed freely, the other to be treated as a fugue in the manner of Handel; in the end, and partly at Schindler’s own suggestion, the latter was chosen.
The Overture as we know it today opens with a kind of Maestoso e sostenuto hymn which, announced by the wind instruments and gradually expanding in sonority, builds to the forte and fortissimo of the full orchestra, crowned by a trumpet fanfare. From this point an ample transition leads into a highly fugal Allegro molto, developed at length on a light and lively theme and brought to a close like a festive acclamation. Beethoven probably wished to create something that would correspond to the special character of the occasion, for which the Overture to The Ruins of Athens was certainly too light.
It is possible that he had in mind a celebration of national art within the context of a popular festival. In this respect, a comparison of ideological elements between this Overture and Wagner’s Prelude to Die Meistersinger would not be out of place, so magnificently are the constituent elements of the popular hymn, the festive fanfare and the art of polyphony fused together there.
Official title: Opus 124 Ouvertüre zum Festspiel „Die Weihe des Hauses“ (C-dur) von Carl Meisl Widmung: Nikolaus Borisowitsch Fürst Galitzin NGAII/1 AGA 24 = Serie 3/7
Publication: Composed at the end of September 1822 in Baden, near Vienna. The original edition in full score and parts was published by Schott in Mainz in December 1825. Schott had already issued piano reductions for two and four hands by Carl Czerny in April and July.
On 13 September 1822 Beethoven wrote from Baden to Carl Friedrich Peters in Leipzig:
„Kaum bin ich hier, so befindet sich ein Theaterdirektor, der ein Theater in Wien erbaut, und es mit einem Werke von mir eröffnet, hier, dem zu Gefallen ich einige neue Stücke hiezu schreiben mußte“ (BGA 1496).
The theatre director referred to was Karl Friedrich Hensler (1759–1825), who had leased and refurbished the Josephstadt Theatre from 1821 onwards. For the reopening, scheduled for 3 October 1822, Carl Meisl’s play Die Weihe des Hauses was planned, and it was intended to make use of the incidental music composed by Beethoven in 1811 for Die Ruinen von Athens, Op. 113. However, at the beginning of September Hensler approached the composer, who was staying in Baden, with a request to revise or add numbers to the earlier incidental music. The composition of a new overture was delayed. At the end of September Beethoven reported to his brother Johann: „ich habe unterdessen schon einen neuen Chor mit Tänzen u. Sologesängen [WoO 98] gemacht. Läßt es meine Gesundheit zu, so mache ich noch eine neue Ouverture“ (BGA 1497, dated after 24 September). He was of the opinion that „Die Alte Overture (Op. 113] nicht bleiben konnte, weil das Stück in Ungarn nur als Nachstück gegeben, hier aber das Theater damit eröffnet wurde“ (BGA 1505).
Reviewers of the first performances emphasised the musical affinity of the work with the compositions of Georg Friedrich Handel (see first performance). Perhaps Beethoven was simply taking up an older idea from 1820. In a conversation book he noted: „Großbrittanien ,Unter dem Gemählde Händels war ein Trohn errichtet unter welchem der Sarkophag Ruhte -TodtenMarsch aus Händels Saul ward aufgeführt – eben so die von Händel auf den Tod der Prinzeßin Karoline componirte Trau [er]-Kantate aufgeführt mit großer wirkung‘ – Variationen über Händels TrauerMarsch für ganzes Orchester für die Akademie vieleicht später dazu Singstimmen + Diese Variationen müßen ebenfalls verschiedene Klagen erhalten“ (BKh 1, p. 322 and note 739; cf. in particular Göllner/Op. 124).
In 1822 Beethoven received a loan from his brother Johann in exchange for ownership of several unpublished works, among them Op. 124 (Brandeburg/Op. 126, pp. 48–50; BGA 1901). From October 1822 onwards, the two brothers sought publishers for these works in various German-speaking countries, as well as in France and England. With regard to Op. 124, offers were sent to Diabelli (BGA 1505a), Steiner (BGA 1728) and Leidesdorf (BGA 1844) in Vienna; to Pacini (BGA 1518) and Maurice Schlesinger (BGA 1568) in Paris; to Boosey (BGA 1549) in London; and to Simrock in Bonn (BGA 1607) and Probst in Leipzig (BGA 1783). Negotiations with the latter were already well advanced when, at the end of November 1824, Beethoven turned to Schott in Mainz and sold them the overture together with other works (Opp. 121b–128) at a better price. The engraving plate was delivered on 4 February 1825 (BGA 1931), and the opus number was determined shortly after 19 March (BGA 1950).
Beethoven responded to Henning’s refusal to halt the sale of the piano reduction (BGA 1923) in the Wiener Zeitschrift für Kunst, Literatur, Theater und Mode (10, 1825, no. 28, 5 March 1825) with an appeal not to buy or sell this reduction, since it was „gänzlich verfehlt“. The Beethoven-Haus in Bonn owns a copy of the Trautwein edition bearing Beethoven’s handwritten note on the title page: „Ein gänzlich verfehlter verstümmelter / dem Original u. Inhalte nicht getreuer / Klawierauszug. / L. v. Beethoven m. p.“
Schott sought to minimise the editorial damage by repeatedly reprinting Beethoven’s appeal in the journal of their firm, Caecilia, and subsequently taking a position themselves. Schott also attempted to obtain various privileges for their editions of Opp. 121b–128 against foreign reprints, adaptations of various kinds, and the sale of reprints produced abroad. The exclusive rights for Bavaria and Prussia (dated 14 July and 15 August 1825) were printed on the title page of the full-score edition of the reprint of Op. 124.
Text: Carl Meisl (1773–1853), „Die Weihe des Hauses, Gelegenheitsstück in einem Aufzuge“, in: Taschenbuch vom K. K. priv. Theater in der Leopoldstadt, 12th year, Vienna 1825.
Dedicated to: Prince Nikolaus Borisovich Galitzin, born on 8 December 1794 in Moscow, died on 20 October 1866 on his estate at Bogorodskoye near Kursk. The Galitzins were an illustrious Russian noble family with close ties to Vienna. One relative, Prince Dmitrij Mikhailovich Galitzin, served as Russian ambassador to Vienna from 1762 to 1792; the site of his (former) palace is still known today as “Gallitzinberg”. Nikolaus Borisovich lived for a time in Vienna as a child (1804–1806).
Galitzin was distinguished by outstanding musical talent, refined taste and a deep knowledge of classical music, and he exerted a lasting influence on musical culture in Saint Petersburg, where he organised and hosted concerts. He was a gifted cellist, and his wife Elena Alexandrovna, née Saltykova, was an excellent pianist. Galitzin’s family did not allow him to pursue a career as a musician, instead obliging him to enter military service. In his first letter to Beethoven, dated 9 November 1822, Galitzin described himself as “[a]ussi passionné amateur de musique que grand admirateur de votre talent” (BGA 1508). He arranged several of Beethoven’s piano works for string quartet and string quintet so that he could perform them himself as a cellist. Prince Galitzin reported with great enthusiasm on the performance of the Missa solemnis that he organised on 7 April 1824 (= 26 March according to the Julian calendar then in use in Russia) in Saint Petersburg (BGA 1807).
In a letter dated 26 May 1824, the composer promised to send Galitzin an overture (Op. 124) and the Trio Op. 116 (BGA 1841), a promise which, as was often the case with Beethoven, was not immediately fulfilled. In response to Galitzin’s repeated requests, Beethoven decided in January 1825 to dedicate the overture to him (BKh 7, pp. 109–112; communication to Schott of 5 February 1825, BGA 1932). After Galitzin once again requested copies of the Ninth Symphony and the overture at the end of June, a copy of Op. 124 was sent to Saint Petersburg (BGA 2002f, 2006, 2012). Galitzin thanked Beethoven in January 1826 and announced payment of 25 ducats for the dedication (BGA 2106). However, this fee was never recorded during Beethoven’s lifetime, nor was payment for the string quartets Opp. 127, 130 and 132, which were also commissioned by Galitzin and dedicated to him. Only Beethoven’s nephew Karl, as his heir, received a fee, in two instalments in 1835 and 1852 (BGA 2285; TDR V, pp. 566–578). Although Galitzin had wished to meet Beethoven in person (see BGA 1997), the two never met.
First performance: 3 October 1822 at the Josephstadt Theatre in Vienna. Beethoven himself conducted the concert, with Franz Joseph Gläser (1798–1861) as assistant. After „Die Weihe des Hauses“, another work by Carl Meisl was performed: „Das Bild des Fürsten“, with music by Joseph Drechsler, whom we shall encounter again in Beethoven’s biography.
- D-B, Mus. SM. autogr. Beethoven Artaria 201, pp. 86–111. Dating: September 1822 (for the dating see origin and publication), facsimile: SBB; Nottebohm/Beethoveniana II, pp. 404–408.
- D-B, Mus. SM. autogr. Beethoven Artaria 205/1, pp. 5f, 20–30. Dating: September 1822 (for the dating see origin and publication), facsimile and description: SBB.
- Private ownership unknown: 4 pages, formerly US-NH (Albrecht/Autographs p. 7), auctioned by Christie’s, London, on 24 June 1992; facsimile of one page in the auction catalogue.
Franz Joseph Gläser, or František Josef Glaeser (Horní Jiřetín, Kingdom of Bohemia, 19 April 1798 – Copenhagen, 29 August 1861), was a Bohemian–Danish conductor and composer.
His parents were poor and had many children, so Franz Joseph’s education was difficult. Nevertheless, having shown musical talent from the age of eleven, he joined the choir of the Court Chapel in Dresden. A few years later he entered the Prague Conservatory, where he became a virtuoso violinist. In 1816 he studied composition with Heydenreich in Vienna, while working as a music copyist and arranger. From 1817 he became conductor at the Leopoldstadt Theatre, then in 1822 at the Theater in der Josefstadt, and in 1827 at the Theater an der Wien. He assisted Beethoven at concerts, in particular for the overture Die Weihe des Hauses.
He devoted himself to dramatic composition and wrote more than 120 operas, farces, stage works and Singspiele. In 1830 he accepted a position as conductor at the Königsstädtisches Theater in Berlin, where his most famous and important work, Des Adlers Horst (first performed in 1832), was staged. In 1839 he joined the Royal Danish Theatre in Copenhagen as conductor, replacing the temporary trio of directors Peter Ferdinand Funck, Johannes Frederik Fröhlich and Ivar Bredal, who had been selected by Glaeser. He performed and promoted music by contemporary composers such as Heinrich Marschner, Felix Mendelssohn and Louis Spohr, and in 1842 Rossini’s opera Guillaume Tell.
Glaeser remained in his post until his death in 1861, and between 1843 and 1850 he also worked as conductor of the Musical Society, where he directed a total of 50 concerts. In 1845 he was appointed Court Conductor, in 1847 he was knighted in the Order of the Dannebrog, and in 1851 he was appointed full professor. He composed relatively little music during the nineteen years he lived in Copenhagen. Gläser left an autobiography in which he mentions his encounters with Beethoven.
