Consecration of the House Overture
Encyclopedia
Consecration of the House (or Die Weihe des Hauses), op.124, is a work by Ludwig van Beethoven
composed in September 1822. It was commissioned by Carl Friedrich Hensler, the Director of Vienna
’s new Theater in der Josefstadt
, and was first performed at the theatre's opening on October 3, 1822. It was the first work Beethoven wrote after studying the works of J. S. Bach and Handel
, and bears their influence.
Previously, in 1811, Beethoven had written The Ruins of Athens
(Die Ruinen von Athen), op. 113, incidental music
for August von Kotzebue
's play of the same name, for the dedication of a new theatre in Pest. This same work was to be performed again in 1822 for the new theatre in Vienna. However, Carl Meisl, the commissioner of the Royal Imperial Navy, changed the texts of numbers 1, 6, 7, and 8 of Beethoven's work. Beethoven was not pleased with the revision, and felt that the new text did not fit the music. Meisl also introduced a section, Wo sich die Pulse, for which Beethoven wrote new music (WoO 98). Beethoven wrote a completely new overture for the work, altered some of the musical numbers, and added others, including a final chorus with violin solo and ballet. This new overture is known as the Consecration of the House Overture. (The extra incidental pieces constitute the entire work.)
fashion after Handel. Beethoven chose a monothematic structure, in which a modulation
occurs, but in which the new key features the same theme. This suggests the influence of Haydn
.
The overture opens with brief isolated chords which herald the beginning of a slow introduction in the manner of Haydn. A slow march ensues, processional in character, as if heard in the distance. The brass and winds take over the theme and are joined by the strings for a repeat of the march. As the imaginary procession approaches, the march intensifies, closing with trumpet fanfares and kettle drum announcing the arrival. A trumpet fanfare, with runs in the bassoon, and later the violins, appearing to describe the hurrying and excitement of the crowd, introduces a fast tutti section which seems to signal the main body of the overture, but which instead gives way to a sonata-allegro form. The trumpets and drums resume, leading to an interlude connecting finally with the body of the overture: a fugal
Allegro (referred to by Schindler) at the work's centre, in both single and double counterpoint. Different groups of instruments enter in turn, producing a fugal texture. The theme appears in the first violins, flute, and oboe, and a counter theme in the second violins and clarinets. This section crescendos rapidly, and – following the recapitulation – a forceful coda brings the overture to a brilliant close.
Musik zu Carl Meisls Gelegenheitsfestspiel, Hess 118 [51.19]
(timings taken from a recording, and given as a guide to the relative lengths of the sections)
Ludwig van Beethoven
Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential composers of all time.Born in Bonn, then the capital of the Electorate of Cologne and part of...
composed in September 1822. It was commissioned by Carl Friedrich Hensler, the Director of Vienna
Vienna
Vienna is the capital and largest city of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million , and is by far the largest city in Austria, as well as its cultural, economic, and political centre...
’s new Theater in der Josefstadt
Theater in der Josefstadt
The Theater in der Josefstadt is a theater in Vienna in the eighth district of Josefstadt. It was founded in 1788 and is the oldest still performing theater in Vienna...
, and was first performed at the theatre's opening on October 3, 1822. It was the first work Beethoven wrote after studying the works of J. S. Bach and Handel
George Frideric Handel
George Frideric Handel was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music...
, and bears their influence.
Previously, in 1811, Beethoven had written The Ruins of Athens
The Ruins of Athens
The Ruins of Athens , Opus 113, is a set of incidental music written in 1811 by Ludwig van Beethoven. The music was written to accompany the play of the same name by August von Kotzebue, for the dedication of a new theatre at Pest....
(Die Ruinen von Athen), op. 113, incidental music
Incidental music
Incidental music is music in a play, television program, radio program, video game, film or some other form not primarily musical. The term is less frequently applied to film music, with such music being referred to instead as the "film score" or "soundtrack"....
for August von Kotzebue
August von Kotzebue
August Friedrich Ferdinand von Kotzebue was a German dramatist.One of Kotzebue's books was burned during the Wartburg festival in 1817. He was murdered in 1819 by Karl Ludwig Sand, a militant member of the Burschenschaften...
's play of the same name, for the dedication of a new theatre in Pest. This same work was to be performed again in 1822 for the new theatre in Vienna. However, Carl Meisl, the commissioner of the Royal Imperial Navy, changed the texts of numbers 1, 6, 7, and 8 of Beethoven's work. Beethoven was not pleased with the revision, and felt that the new text did not fit the music. Meisl also introduced a section, Wo sich die Pulse, for which Beethoven wrote new music (WoO 98). Beethoven wrote a completely new overture for the work, altered some of the musical numbers, and added others, including a final chorus with violin solo and ballet. This new overture is known as the Consecration of the House Overture. (The extra incidental pieces constitute the entire work.)
Structure of the Overture
An anecdote by Anton Schindler describes Beethoven conceiving two themes for the overture while on a walk, and relates the composer's intention of treating one of these in contrapuntalCounterpoint
In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent . It has been most commonly identified in classical music, developing strongly during the Renaissance and in much of the common practice period,...
fashion after Handel. Beethoven chose a monothematic structure, in which a modulation
Modulation (music)
In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest...
occurs, but in which the new key features the same theme. This suggests the influence of Haydn
Joseph Haydn
Franz Joseph Haydn , known as Joseph Haydn , was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms...
.
The overture opens with brief isolated chords which herald the beginning of a slow introduction in the manner of Haydn. A slow march ensues, processional in character, as if heard in the distance. The brass and winds take over the theme and are joined by the strings for a repeat of the march. As the imaginary procession approaches, the march intensifies, closing with trumpet fanfares and kettle drum announcing the arrival. A trumpet fanfare, with runs in the bassoon, and later the violins, appearing to describe the hurrying and excitement of the crowd, introduces a fast tutti section which seems to signal the main body of the overture, but which instead gives way to a sonata-allegro form. The trumpets and drums resume, leading to an interlude connecting finally with the body of the overture: a fugal
Fugue
In music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
Allegro (referred to by Schindler) at the work's centre, in both single and double counterpoint. Different groups of instruments enter in turn, producing a fugal texture. The theme appears in the first violins, flute, and oboe, and a counter theme in the second violins and clarinets. This section crescendos rapidly, and – following the recapitulation – a forceful coda brings the overture to a brilliant close.
Movements
The Overture described above, Beethoven's op.124, is the first piece in the list below. The other movements are sections which Beethoven wrote, or adapted from his other work, and which come under the umbrella name of this work.Musik zu Carl Meisls Gelegenheitsfestspiel, Hess 118 [51.19]
(timings taken from a recording, and given as a guide to the relative lengths of the sections)
- Die Weihe des Hauses, Ouvertüre, op. 124 (10.52)
- No. 1 Unsichtbarer Chor. Folge dem mächtigen Ruf der Ehre! (4.05)
- No. 2 Duett. Ohne Verschulden Knechtschaft dulden (3.58)
- No. 3 Chor der Derwische (2.37)
- No. 4 Marcia alla turca (1.39)
- [No. 5] Chor mit Sopran-Solo, WoO 98. Wo sich die Pulse jugendlich jagen. Laßt uns im Tanze (6.03)
- No. 6 Marsch mit Chor, op. 114. Schmückt die Altäre! (6.39)
- No. 7 Musik hinter der Szene [Melodram]. Es wandelt schon das Volk in Feierkleide (Rezitation) (1.45)
- Rezitativ: Mit reger Freude, die nie erkaltet (1.45)
- Chor: Wir tragen empfängliche Herzen im Busen – Arie mit Chor: Will unser Genius noch einen Wunsch (7.58)
- No. 9 Chor: Heil unserm Kaiser! (3.57)
External links
- http://www.musicwithease.com/consecration-house.html
- http://www.answers.com/topic/die-weihe-des-hauses-consecration-of-the-house-overture-for-orchestra-op-124