pieces performed with symphony no 1???

[jonjon]

I quote from another site: http://www.carolinaclassical.com/art...beethoven.html
"In April 1800, his Symphony No. 1 in C minor, Opus 21 was performed as part of a public concert at the Burgtheater. The symphony was dedicated to Baron van Swieten, the arbiter of musical taste in Vienna. The program for what was in fact Beethoven's first benefit concert was a substantial one. A Mozart symphony was followed by an aria from Haydn's Creation. Then came a piano concerto by Beethoven, with the composer as soloist. The Schuppanzigh Quartet was joined by three wind-players to perform a septet by Beethoven. After this came the symphony."

Does anyone know which Mozart Symphony and which aria from Creation. I know it was the Beethoven Septet but was it the first piano concerto in C or the one we know as no 2 in Bb which actually came first?

Any onfo on this first concert in April 1800 would be welcome. Many thanks for your continued help, group.

Jonjon

[Luis Mariano]

The programme which was later found in the possession of the widow of Carl van Beethoven, reads as follows:

"Today, Wednesday, April 2nd, 1800, Herr Ludwig van Beethoven will have the honor to give a grand concert for his benefit in the Royal Imperial Court Theatre beside the Burg. The pieces which will be performed are the following:

1. A grand symphony by the late Kapellmeister Mozart.

2. An aria from "The Creation" by the Princely Kapellmeister Herr Haydn, sung by Mlle. Saal.

3. A grand Concerto for the pianoforte, played and composed by Herr Ludwig van Beethoven.

4. Septet for strings and winds

5. A duet from Haydn's "Creation", sung by Herr and Mlle. Saal.

6. Herr Ludwig van Beethoven will improvise on the pianoforte.

7. A new grand symphony with complete orchestra, composed by Herr Ludwig van Beethoven.

Tickets for boxes and stalls are to be had of Herr van Beethoven at his lodgings in the Tiefen Graben, No. 241, third story, and of the box-keeper.

Prices of admission are as usual.

The beginning is a half-past 6 o'clock" (Thayer: 255).


(Allgemeine Musikalische Zeitschrift, Oktober 1800: 49 - 50).

-- "Finally, Herr Be e t h o v e n received the theater, and this was truly the most interesting academy, for a long time. He played a new concerto of his composition that has many beautiful parts--particularly the first two movements. Then, a septet of his was given that is written with much taste and sensitivity. Then he improvised masterfully, in which there was much art, novelty and wealth of ideas, only, the wind instruments were applied too much, so that it was more harmony than overall orchestra music. Perhaps we could also create something good if we still reported of this academy the following. The orchestra of the Italian opera displayed itself very much to its disadvantage. First--arguments among the management! B e e t h o v e n rightfully believed that he could entrust the direction of this concert not to Herr Conti, but rather to none other and better than Herr Wranitzky. Under him, the gentlemen did not want to play. The above-admonished mistakes of this orchestra become all the more apparent since B's compositions are difficult to execute. In their accompaniment, they did not take care to pay attention to the solo player; of delicatesse in accompaniment, of a following of the emotions of the solo player and the like, there was no trace. In the second part of the symphony, they even became slack enough that, in spite of all direction, no fire--particularly in the wind instruments, could be gotten out of them. Of what use is all skill--and this skill one does not want to deny most members of this ensemble--in light of such behavior? What important effect can even the most excellent composition make under such conditions? Who will invent and teach us the great magic word which will banish all conveniences, personal and other considerations and instills life, spirit and fire for art itself? It may be the case that in other great centers, this will not be any better, but when one considers how much more--in every respect, we could be here, in the rich imperial city with its love of music, with all of its skill, if we only truly wanted it: thus one has to bemoan this situation and one can not fail to point the finger at those who are to blame for this and moan about it."
--
Thayer reports that it is not clear which piano concerto Beethoven played at this occasion (some biographers think that was the Op.15, it seems that there is some evidence that the third Op. 37 was still under revision). Although Beethoven's comments with respect to this concert have not been preserved, one can imagine that he may not have been entirely happy with the quality of the performance of this orchestra.

Which Mozart symphony was performed is also unknown.

[Hofrat]

Originally posted by jonjon:
I quote from another site: http://www.carolinaclassical.com/art...beethoven.html
"In April 1800, his Symphony No. 1 in C minor, Opus 21 was performed as part of a public concert at the Burgtheater. The symphony was dedicated to Baron van Swieten, the arbiter of musical taste in Vienna. The program for what was in fact Beethoven's first benefit concert was a substantial one. A Mozart symphony was followed by an aria from Haydn's Creation. Then came a piano concerto by Beethoven, with the composer as soloist. The Schuppanzigh Quartet was joined by three wind-players to perform a septet by Beethoven. After this came the symphony."

Does anyone know which Mozart Symphony and which aria from Creation. I know it was the Beethoven Septet but was it the first piano concerto in C or the one we know as no 2 in Bb which actually came first?

Any onfo on this first concert in April 1800 would be welcome. Many thanks for your continued help, group.

Jonjon

Hi Jonjon;

First, I want to correct you and your source article. Beethoven's 1st Symphony is in C-major!

Second, I have had a long and bitter experience with concert announcements and the published critiques of these concerts in Beethoven's era. The writers of these announcements and critiques were very very stingy with any information that would help identify the works performed. Take a look at H.C. Robin Landon's book on Haydn in London. It is virtually impossible to determine which symphonies were performed unless there was something very distinctive about them. I have researched the London concert series at that time. There were 3 series going on simultaneously, 10 concerts per series, and nearly every concert performed a symphony. That is 30 performed symphonies per season. And with all the announcements before, and all the critiques after, NOT ONCE WAS THE KEY OF THE SYMPHONY MENTIONED!! That is hard to believe, but it is true. Apparently, the key was of no importance. The announcements would say "a grand symphony" and the critics would write the same.

Another thing, Mozart, Haydn, and Pleyel did not number their symphonies. Opus numbers were used only when publishing the works, which were usually after the performance. Very little help there for identifying works performed.

So, Jonjon, you will be very hard pressed to determine which Mozart symphony was performed along side Beethoven's 1st, unless you have multiple sources and can cross reference.


Hofrat

[jonjon]

Thank you for replies to this topic. Hofrat is particularly helpful in his explanation of why it is difficult to assertain which syphony was performed. I love the quote from the review provided by Luis Mariano.

O still have in my wallet a review from years ago by Nicholas Kenyon of a Mozart concert which is equally viscious and enlightening.

Thanks again
Jonjon

[Hofrat]

Originally posted by jonjon:
Thank you for replies to this topic. Hofrat is particularly helpful in his explanation of why it is difficult to assertain which syphony was performed. I love the quote from the review provided by Luis Mariano.

O still have in my wallet a review from years ago by Nicholas Kenyon of a Mozart concert which is equally viscious and enlightening.

Thanks again
Jonjon

Jonjon;

Did you note in the Mariano review that we do not know the keys of the Mozart symphony, nor do we know the keys of the Beethoven symphony or concerto!? We assume, logically, that it was Beethoven's 1st symphony in C-major; however, it is a toss-up as to which concerto he played.

This is a diabolical occurance in Europe at that time. It is most unnatural. Test yourselves: Try talking about Beethoven's 5th Symphony and see how long you can do it without saying the taboo word "C-minor!!!"

BTW, the Septet performed in that review is an excellent example of a "distinctive piece" that I mentioned in my previous posting.


Hofrat

[Luis Mariano]

In the booklet of Christopher Hogwood complete symphonies, it is mentioned that Beethoven hired an orchestra of aproximately 40-50 musicians for this first performance of the Opus 21. There is no reference about the source of this information and I haven´t been able to validate it, nor ever have found any book or essay regarding the size of the orchestra during this "Akademie".

Regards