What were you doing at 19? I remember a poem I wrote but showed no one. I was a full-time student and a bit of a partier. Our young Ludwig had no time for that. His traditional schooling experience was short-lived, ending regular classes when he was ten to focus on music, though he did go to college for a brief while at 18. There was too much music to be played, too much music to be written, and too much pressure to take care of his family financially. That is a big load for a young man. And he had known sorrow. Much more that I could have imagined as a teenager. The death of several siblings and coping with an unsuccessful alcoholic father all weighed upon Beethoven. No doubt music was not just his profession, it was a solace.
When the Holy Roman Emperor Joseph II died in February, 1790, Ludwig was only a few months past his 19th birthday. Beethoven felt a close affinity with this sovereign, whose life had been lived promoting pro-enlightenment views and policies. The city of Bonn was all-in for the enlightenment movement, and there was an upswell of sentiment to dismantle the hierarchical church structure which they felt had suppressed free thought and liberty for centuries. For this, Emperor Joseph was a hero in Bonn, and there was true sadness at his passing. The city decided to commission an original composition for a memorial service, and Beethoven was chosen to carry out this commission. This cantata is a result. (A cantata is a composition of music for voices with instrumental accompaniment, typically with solos, chorus, and orchestra. They are often performed in churches.)
The music needed lyrics, and a poem was chosen, written by a young ministry student named Severin Anton Averdonk, a young man only 2 years older than Beethoven, and a student at the University of Bonn. Sadly, this piece was never performed in their lifetime. Perhaps it was too difficult, and perhaps Beethoven didn’t finish on time. Probably both are true. It seems not to have upset the City of Bonn, that commissioned that work, because they quickly commissioned Beethoven again to write a piece for the new Emperor. It finally premiered in Vienna in November 1884, fifty-seven years after Beethoven’s death. Astounding to think that this masterpiece from such an early age just sat around waiting for someone to make it happen. But that it is from Beethoven, there is no doubt.
I adore this cantata. Why? The very first movement is so dramatic, so powerful, and captures the waves of grief perfectly. Actually, this entire piece is like working through of all the steps of grieving, from waves of despair into acceptance, hope, thanksgiving, light, and then, that old grief sneaks back, but this time with the knowledge that you won’t dwell in darkness forever. The bass aria is a bit evil in a Mr. Grinch sort of way. The evil force, the bad guy in these lyrics, is actually the Catholic Church. And the soprano solos are simply angelic.
The cantata has seven movements and is written in the key of C minor, a favorite of Beethoven’s. Coro means there is a chorus. A recitativo is not really a song, it is sung like ordinary speech. An aria is a long solo. But none of these terms, and others listed in musical directions and names, are necessary to understand in order to appreciate the music. I will give an English translation to what is being said in each section. And I’ve placed some links if you’d like to listen while you read the meaning.
1. Coro. Largo – Larghetto (C minor) https://www.youtube.com/watch?v=xiKMnOK5Q_4
Death! Death! It moans through the dreary night.
Cliffs weep again, and you, waves of the sea,
howl it through your depths.
Joseph the great is dead. Joseph, the father of immortal deeds is dead.
Dead.
2. Recitativo. Presto (A minor)
A monster, fanaticism by name, arose from the depths of hell,
stretched itself between earth and sun, and night fell!
3. Aria. Allegro Maestoso-Allegro assai (D major) https://www.youtube.com/watch?v=0FgwWc3Xeac
Then came Joseph, with God’s strength.
Tore the raging monster forth, from between earth and heaven and trampled on his head,
the raging monster, Joseph trampled on the monster’s head.
4. Aria con Coro. Andante con moto (F major) https://www.youtube.com/watch?v=ecPHeLDAPls
Then people climbed into the light,
the earth turned more happily around the sun
which warmed it with godly rays.
5. Recitativo. Largo (D minor)
He sleeps now, far from the cares of the world.
Silent is the night, only a quivering breeze touches my cheek like a breath from the grave.
Whoever’s immortal soul you are, gentle breeze, waft, more gently,
For here lies Joseph in his grave, who sleeps the sleep of peace until the Day of Reward.
When you, happy grave, will release him to eternal crowns.
6. Aria. Adagio con affetto (E♭ major) https://www.youtube.com/watch?v=7aqWgeSVirY
Here slumbers the great sufferer in tranquil peace.
He who on earth broke no rose without a wound.
Who under the burden of his heart bore the well-being of the world with pain
until the end of his life.
7. Coro. Largo – Larghetto (C minor) is a repeat of the opening movement.
If you’d like to listen from beginning to end (about 30 minutes) here is a wonderful vintage recording from 1965 with the New York Philharmonic Orchestra conducted by Thomas Schippers. https://www.youtube.com/watch?v=LiYAg3VOzwk&list=PLPLzDPFJQLNCeBDLB22YjV1D12cN5jbsC&index=23&t=0s The soloists featured are Justino Díaz and Martina Arroyo, both of whom came from Puerto Rico and achieved astounding global success.
Until next time we meet, enjoy music, dive into poetry, and thanks for visiting thetonepoet.com.
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