Die Wiehe des Hauses

[MJBurmaster]

Seems that the listening public has rediscovered this orchestral gem - and having heard various interpretations over the years on both LP, live, internet and CD, I am intrigued what the forum members have to note on the work. Indeed, the latest from the Berlin Philharmonic (unfortunately no other notes given on "Beethoven Only") has such concise treatment of instruments and sonic quality as to function well in place of the stalwart "Young Man's Guide to the Orchestra." This can be a difficult work, especially given the majestically regal march opening and the quickened tempo thereafter, and the "hint" of autobiography although in dedication to Handel. Some interpretations live in the march and race through the rest (on the way out the door, perhaps as Beethoven would wisecrack), others are "dry" and "correct" without warmth or soul, others get tempo right but muddy the instrumental color - the reader gets the drift. I'm looking forward to responses, and since I have a great Technics studio turntable for LPs, I have no qualms about obtaining LPs. (Sadly, the 200th anniversary recording by DGG seems "off" in my listening, if such comes up in discussion.)

[Hollywood]

Ah yes, "Die Weihe des Hauses" Overture, Op. 124. I have two recordings of this overture, one a 1993 recording with the Academy of St. Martin in the Fields with Sir Neville Marriner and the second on from a 1985 recording with the Philharmonia Orchestra conducted by Otto Klemperer.

William Mann wrote this about "The Consecration of the House" Overture:

It is not really surprising that this overture is so strange. Beethoven was in the middle of his greatest period of experimentation; he was busy with the "Missa Solemnis", and was about to start the Ninth Symphony, when in 1822 he was aske to provide music for a pageant play, "Die Weihe des Hauses", with which the Josephstädter Theatre in Vienna intended to reopen its doors. There was very little time; it was already late September and the opening was fixed for October 3. Beethoven raked up the music which he had written for "The Ruins of Athens" ten years earlier, but was obliged to create a brand-new overture which he completed very quickly. The astonishing thing is that Beethoven wove these remarkable ideas and effects so quickly together, and that in the circumstances he should have considered a fugue a feasible recourse.

He told Schnidler, his credulous Boswell, that the fugal theme in the overture was conceived after the manner of Handel, and as a homage to the composer whom Beethoven admired above all.
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I listened again to both of these performances and I think that I enjoy the Klemperer version better. The tempo is a bit slower where as the Marriner version is too fast for my liking. He sounds like he's racing through it just to get it over with. Marriner's version is 9 min.28 sec. while Klemperer's is 12 min.12 sec. long. I enjoy listening to the different performances of a composer's work by different conductors putting their interpretations on the piece.

[Rod]

Originally posted by Hollywood:
[B
I listened again to both of these performances and I think that I enjoy the Klemperer version better. The tempo is a bit slower where as the Marriner version is too fast for my liking. He sounds like he's racing through it just to get it over with. Marriner's version is 9 min.28 sec. while Klemperer's is 12 min.12 sec. long. I enjoy listening to the different performances of a composer's work by different conductors putting their interpretations on the piece. [/B]

Wait until you hear my version by the Hanover Band at the authentic mp3 page, this is fantastic!!


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"If I were but of noble birth..." - Rod Corkin

[Peter]

My version is Kurt Massur, the opening is way too hurried for my liking, completely ruining the stately majesty of the piece.

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'Man know thyself'

[Sorrano]

Originally posted by Peter:
My version is Kurt Massur, the opening is way too hurried for my liking, completely ruining the stately majesty of the piece.

I've got Abbado (Berlin Philharmonic--complete incidental music to the overture), Karajan (Vienna Phil), and Goodman (Hanover). When I get a good opportunity I'll have to make a comparison.

[Sorrano]

Originally posted by Sorrano:

I've got Abbado (Berlin Philharmonic--complete incidental music to the overture), Karajan (Vienna Phil), and Goodman (Hanover). When I get a good opportunity I'll have to make a comparison.

The Abbaddo was the one I least liked, having listened to them together. The best one, I felt, was the Karajan. The Goodman and the Karajan were close in my estimation but the Goodman version started weakly. The period brasses sounded better to me than the modern ones, but I like both quite well. But I won't be throwing any of the versions away anytime soon since I felt they were all very good.

[Joy]

I have the vrsion by Nicolaus Esterhazy Sinfonia Bela Drahos conducting. It's very good to my ears. It also includes other overtures King Stephen, Consecration of the House, and Ritterballet.

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'Truth and beauty joined'