Coriolan

[lysander]

The Overture Coriolan, was written for a play by Heinrich von Collin.
When was the overture first performed and does anyone know about the play, is it a statementa about the human condition?

[Andrea]

Here's what information I could find on this overture:

"Heinrich von Collin's tragedy on the subject of the dishonoured and exiled Roman general Coriolanus (apparently written in ignorance of Shakespeare's) was produced at the Hofburgtheater in 1802, with incidental music adapted from Mozart's Idomeneo by the Abbe Stadler. Beethoven was both a friend of Von Collin and interested in the chances of being appointed composer to the Hofburgtheater; whether it was with this end in view or not, he wrote his Coriolan Overture early in 1807, and it was performed at one of two subscription comcerts given in the Palais Lobkowitz in March that year, and, we can be sure, at a revival of the play on 27 April. The whole cast of the overture (in C minor) is expressive of the struggle that rages in the breast of the courageous Roman, while the final bars vividly portray his suicide, even his dying breath."- Robin Golding.

"The dramatic Coriolan Overture was performed in March 1807 at the Lobkowitz palace, along with the premiere performances of the Fourth Symphony and the Fourth Piano Concerto. The closing, disintegrating passage-reminiscent of the end of the Eroica Funeral March-symbolizes the death of the hero. Unlike Plutarch's or Shakespeare's hero, Collin's Coriolan chooses death- an action that had more than ordinary resonance to Beethoven in view of his documented suicidal impulses. Like the Sonata, op. 57, Coriolan demonstrates that Beethoven did not always insist on joyful conclusions, but was able to locate transcendence in the acceptance of death itself."- Maynard Solomon.

[Sorrano]

Originally posted by Andrea:
Here's what information I could find on this overture:

"Heinrich von Collin's tragedy on the subject of the dishonoured and exiled Roman general Coriolanus (apparently written in ignorance of Shakespeare's) was produced at the Hofburgtheater in 1802, with incidental music adapted from Mozart's Idomeneo by the Abbe Stadler. Beethoven was both a friend of Von Collin and interested in the chances of being appointed composer to the Hofburgtheater; whether it was with this end in view or not, he wrote his Coriolan Overture early in 1807, and it was performed at one of two subscription comcerts given in the Palais Lobkowitz in March that year, and, we can be sure, at a revival of the play on 27 April. The whole cast of the overture (in C minor) is expressive of the struggle that rages in the breast of the courageous Roman, while the final bars vividly portray his suicide, even his dying breath."- Robin Golding.

"The dramatic Coriolan Overture was performed in March 1807 at the Lobkowitz palace, along with the premiere performances of the Fourth Symphony and the Fourth Piano Concerto. The closing, disintegrating passage-reminiscent of the end of the Eroica Funeral March-symbolizes the death of the hero. Unlike Plutarch's or Shakespeare's hero, Collin's Coriolan chooses death- an action that had more than ordinary resonance to Beethoven in view of his documented suicidal impulses. Like the Sonata, op. 57, Coriolan demonstrates that Beethoven did not always insist on joyful conclusions, but was able to locate transcendence in the acceptance of death itself."- Maynard Solomon.

After first hearing this overture I read the Shakespear play, oblivious to the fact that it was written for a different play. With that in mind I felt it was an appropriate match.

[lysander]

Originally posted by Andrea:
Here's what information I could find on this overture:

"Heinrich von Collin's tragedy on the subject of the dishonoured and exiled Roman general Coriolanus (apparently written in ignorance of Shakespeare's) was produced at the Hofburgtheater in 1802, with incidental music adapted from Mozart's Idomeneo by the Abbe Stadler. Beethoven was both a friend of Von Collin and interested in the chances of being appointed composer to the Hofburgtheater; whether it was with this end in view or not, he wrote his Coriolan Overture early in 1807, and it was performed at one of two subscription comcerts given in the Palais Lobkowitz in March that year, and, we can be sure, at a revival of the play on 27 April. The whole cast of the overture (in C minor) is expressive of the struggle that rages in the breast of the courageous Roman, while the final bars vividly portray his suicide, even his dying breath."- Robin Golding.

"The dramatic Coriolan Overture was performed in March 1807 at the Lobkowitz palace, along with the premiere performances of the Fourth Symphony and the Fourth Piano Concerto. The closing, disintegrating passage-reminiscent of the end of the Eroica Funeral March-symbolizes the death of the hero. Unlike Plutarch's or Shakespeare's hero, Collin's Coriolan chooses death- an action that had more than ordinary resonance to Beethoven in view of his documented suicidal impulses. Like the Sonata, op. 57, Coriolan demonstrates that Beethoven did not always insist on joyful conclusions, but was able to locate transcendence in the acceptance of death itself."- Maynard Solomon.

Why, Thankyou so much Andrea, this is most fascinating, is the play still extant, and will it only be written in German?

I am afraid this is a bit rushed, as I have just returned from work, and have to rush out again. But I would like to study this more. This is very much appreciated.

Lysander.

[Rod]

I recall Beethoven indended to compose music for another Collin production but the latter's death robbed us of what I'm sure would have been something great.

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

[Andrea]

I was able to find some more information on Heinrich von Collin:

"COLLIN, HEINRICH JOSEPH VON (1771—1811), Austrian dramatist, was born in Vienna, on the 26th of December 1771. He received a legal education and entered the Austrian ministry of finance where he found speedy promotion. In 1805 and in 1809, when Austria was under the heel of Napoleon, Collin was entrusted with important political missions. In 1803 he was, together with other members of his family, ennobled, and in 1809 made Hofrat. He died on the 28th of July 1811. His tragedy Regulus (1801), written in strict classical form, was received with enthusiasm in Vienna, where literary taste, less advanced than that of North Germany, was still under the ban of French classicism. But in his later dramas, Coriolan (1804), Polyxena (1804), Balboa (1806), Bianca della Porta (1808), he made some attempt to reconcile the pseudo-classic type of tragedy with that of Shakespeare and the German romanticists. As a lyric poet (Gedichte, collected I8 12), Collin has left a collection of stirring Wehrmannslieder for the fighters in the cause of Austrian freedom, as well as some excellent ballads (Kaiser Max auf der Martinswand, Herzog Leupold vor Solothurn). His younger brother Matth’áus von Collin (1~79— 1824), was, as editor of the Wiener Jahrbüc/ier für Literatur, an even more potent force in the literary life of Vienna. He was, moreover, in sympathy with the Romantic movement, and intimate with its leaders. His dramas on themes from Austrian national history (Belas Krieg mit dem Vater, 1808, Der Tod Friedrichs des Streitbaren, 1813) may be regarded as the immediate precursors of Grillparzer’s historical tragedies."
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"The Austrian writer was a contemporary of Beethoven, and the two men enjoyed a spirited professional friendship until Collin's untimely death in 1811. Among the collaborations they considered or actually attempted were several operas, including one after Macbeth (Collin evidently was drawn to Shakespeare's tragedies), for which Beethoven made substantial sketches. Unfortunately, none of these other projects reached completion, and the Coriolan Overture remains the only fruit of Beethoven's acquaintance with Collin."-Paul Schiavo.

I also found out that Franz Schubert composed a song from a von Collin poem and it's titled "Leiden der Trennung".

[John Rasmussen]

Has anyone else noticed that Collin was virtually the same age as LvB?

I played the Coriolan overture a few months ago, and noticed that the woodwind parts were generally not as interesting as the are in his other works. A couple of clarinet solos, a phrase or two for flute and my instrument, the oboe, but otherwise a lot of filler parts without much interest. Most of the action is in the strings. But it's still very much worth playing for the Beethovenian formal mastery and relentless intensity.

[Joy]

Originally posted by John Rasmussen:
Has anyone else noticed that Collin was virtually the same age as LvB?

I played the Coriolan overture a few months ago, and noticed that the woodwind parts were generally not as interesting as the are in his other works. A couple of clarinet solos, a phrase or two for flute and my instrument, the oboe, but otherwise a lot of filler parts without much interest. Most of the action is in the strings. But it's still very much worth playing for the Beethovenian formal mastery and relentless intensity.

Von Collin was born 1771 and died 1811 at the age of forty so he did live in Beethoven's time.
What symphony orchestra do you play in John?
Have you ever played at The Red Rocks Amphitheater near Denver? I was there many years ago and it is a beautiful venue.

Joy