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Schumann's Eusebius: His Beethoven Origins in The Schumann’s Eusebius: His Beethovenian Origins in the Christian Liturgical Year Theodore Albrecht Theodore Albrecht is professor of musicology at Kent State University. From 1980 to 1992, he was professor of music at Park College and music director of the Philharmonia of Greater Kansas City. His translation/edition of Felix Weingartner’s On the Performance of the Symphonies of Schubert und Schumann (1918) was serialized in the Journal of the Conductors Guild in 1986. His three-volume Letters to Beethoven and Other Correspondence (Nebraska, 1996) won an ASCAP-Deems Taylor Award in 1997 [email protected]. The fi rst issue of the Neue (Leipziger) Zeitschrift für have always seemed unclear. Musik, appeared on April 3, 1834, “published by Most early authors writing about Schumann and a society of artists and friends of art” that included his works simply avoided the topic, but in 1985, psy- the twenty-three-year-old Robert Schumann and his cho-biographer Peter Ostwald noted that Schumann teacher Friedrich Wieck (1785 –1873).1 Schumann modeled the pairing of Florestan and Eusebius after often signed his articles as Florestan, Eusebius, and the twins Vult and Walt in Jean Paul Richter’s Flegel- Raro—“the impulsive, impatient, decisive and effu- jahre. He further theorized that when Schumann was sive Florestan, the moderate, cautious, slower, some- researching materials for an unfi nished play on the times skeptical Eusebius, and the mature, detached, tragic twelfth-century romance of Abélard and Hé- paternal Master Raro.”2 These names had already loise, he encountered the name of a Christian saint emerged in June and July, 1831, as Schumann’s Eusebius. Ostwald mentioned that the names “Flo- imaginary friends.3 While Florestan derived from a restan and Eusebius” occur in “a treatise on music character in Beethoven’s Fidelio, and Meister Raro by the neo-Platonist writer Aristides Quintilianus.”4 In was Wieck, the origins of Eusebius—not much more fact, Quintilianus’s treatise Peri musikes (On Music) of a household name in the 1830s than it is today— addresses his friends Eusebius and Florentius—not CHORAL JOURNAL Volume 51 Number 2 55 Schumann's Eusebius: His Beethoven Origins in the Florestan.5 Ostwald then seemed to theorize that Schumann his fi rst entry in Beethoven’s conversation book asks for a may have found the name Eusebius in the liturgical calendar on glass of water. He noted that Beethoven’s symphonies were August 14, only two days after the feast of St. Clara on August heard every winter in Leipzig, and “the public would take it 12, with “Aurora” on the 13th.6 In his Robert Schumann (1997), very badly if the direction were negligent in them.” Stein and John Daverio agreed with Ostwald on several points and Beethoven turned to his piano: “How heavily must you play indicated that these entries appear in Schumann’s Haushalt- in order to hear it?” Wieck chimed in with gratuitous advice bücher (household account books),7 rather than in any formal concerning a cure for Beethoven’s increasing deafness—by liturgical context. In his article for the second edition of New doctors in Leipzig, of course. Beethoven probably mentioned Grove (2001), Daverio clarifi ed that “Schumann noted these his stomach cramps as supposedly associated with his deaf- namedays … as late as 1853.”8 Daverio’s parting observation ness, and the Besserwisser (know-it-all) Wieck replied, “My on the subject at hand, however, was that it is diffi cult to know wife suffered from the severest cramps, and was completely what precise connotations the name “Eusebius” might have cured within four weeks.” had for Schumann in 1831.9 Turning to another subject that always irritated Beethoven, Wieck fl atteringly asked the composer if he would soon give his admirers another symphony. Of course, Beethoven Friedrich Wieck’s Visit to Beethoven in 1823 had already made signifi cant headway in sketching the Ninth By naming the first of his literary trio “Florestan,” Symphony, but seldom spoke about the compositional process Schumann may have refl ected an almost personal relation- itself. Pushing his luck further, Wieck asked Beethoven if he ship with Beethoven, as seen through the eyes of his teacher wouldn’t give one of his “immortal works” to Peters in Leipzig, 13 Friedrich Wieck. “one of the fi nest publishers I know.” Beethoven had been In the late morning or early afternoon of Tuesday, July 8, corresponding with Peters for over a year. After Peters made 1823, in the company of piano maker (Matthäus) Andreas an anti-Semitic remark about the Berlin publisher Adolf Martin Stein (1776–1842), Wieck had visited Beethoven at his sum- Schlesinger in a letter of June 15, 1822, the composer silently mer apartment in Hetzendorf, a mile south of Schönbrunn retaliated by padding his shipment to Leipzig with several palace.10 Stein had long been acquainted with the composer old or trifl ing pieces, at which Peters had recently balked in 14 and had repaired his Broadwood piano as recently as spring, indignation. 1820.11 Wieck later admitted that without Stein to introduce At any rate, Beethoven must have behaved hospitably to him, Beethoven probably would not have received him.12 Stein Wieck, who concluded, “This day is one of the fi nest in my 15 began the conversation and reported to Beethoven that the life,” and eventually “May Heaven protect you!” fee for a manuscript copy of the composer’s Missa solemnis Not only was Beethoven a hero to Schumann and his had arrived from the Russian Czar. generation in general, but Wieck’s reminiscences of his Wieck was every bit as charming as history credits him; meeting with the composer (which ultimately lasted three hours) must have provided Schumann himself with an un- imaginable sense of proximity to the titan.16 Thus his naming of Florestan after Beethoven’s imprisoned hero in Fidelio now New Release from Canada! appears all the more logical. Alfred Kunz Music Publications A Century of Eusebiuses Arr. Ave Maria (Caccini) Eusebius, however, is a much more diffi cult associa- SATB – Piano tion to make, especially given Also available – TTBB, Piano the number of historical per- sonages by that name in the Sample PDF & Full MP3 early Christian era, and espe- Dr. Alfred cially (though not exclusively) www.kunzmusic.ca Kunz in the fourth century A.D. (519) 662-3291- [email protected] Previous authors have cited one or two of them, often confusing and confl ating them 56 CHORAL JOURNAL Volume 51 Number 2 Christian Liturgical Year through no particular fault of their own,17 In addition to the six aforementioned (7) The earliest St. Eusebius was pope for and so a longer list probably full of its own Eusebii, there are no fewer than three (or four months, from April 18 to Au- errors might be appropriate here. even four) Saints Eusebius, all of them from gust 17, 309, when politics between the fourth century! the Church and the Roman Empire (1) Eusebius of Laodicea, bishop of Laodicea (today Latatkia, Syria) from ca. 264 to ca. 269, was a defender of Christians in his native Alexandria in 250 and 257, and saved his fellow citizens from starvation in 261.18 (2) Eusebius of Caesarea (ca. 260/263-340), %HFRPHWKH called “Pamphili” after his teacher Pamphilus, was bishop of Caesarea and an advisor to the Emperor Con- &RPSOHWH&KRUDO&RQGXFWRU stantine, and is considered the fi rst historian of the Church.19 (3) Eusebius of Myndus (4th C.), neo- platonist philosopher, was a pupil of Aedesius of Pergamum, but exercised comparative sobriety, rationality, and contempt for religious magic to which other members of the Pergamene school were addicted.20 Gr aduat e stud ent Va siliki Ts ouva co (4) Eusebius of Nicomedia (d. ca. 342), a nductin g the Sym phonic Ch Greek bishop, supporter of Arius oir and Scholarship Orchestra and leader of an Arian group called “Eusebians.” He had been Bishop of $FKLHYH([FHOOHQFH through CHORAL CONDUCTING FACULTY Beirut, but in ca. 318 became Bishop world-class professional training at one William Jon Gray, Chair the most acclaimed music institutions of Nicomedia (today Izmit, Turkey). Carmen Helena Téllez, Director of Graduate of our time, with top faculty in all major Choral Studies He shared many philosophical views fields and the finest music research library with Eusebius of Caesarea and was in the United States. Michael Schwartzkopf promoted to the see of Constanti- Robert Porco nople in 339.21 Five Associate Instructor Richard Tang Yuk positions open for 2011- Susan Swaney (5) Eusebius of Emesa (died ca. 359), a writer 2012 academic year. Katherine Strand Jan Harrington, Chancellor’s Professor Emeritus on doctrinal subjects and student of Full tuition remission and Eusebius of Caesarea. He often ac- a competitive stipend with 2011 AUDITION DATES companied the Emperor Constanius health insurance. on campaigns and was appointed to Jan. 14, 15 | Feb. 4, 5 | March 4, 5 the see of Emesa (today Homs, Syria) Podium Time: Conduct a choral ensemble APPLICATION DEADLINE in ca. 339. St. Jerome criticized him for every day in conducting class. Conduct Dec. 1, 2010 his rhetorical exhibitionism.22 recitals with the top choirs in the School of Music and a scholarship orchestra. (6) Eusebius of Dorylaeum, the bishop of Conducting and Teaching Opportunities: that city (today Eskisehir, Turkey) in A cappella chamber choir repertoire; large the fi fth century. In 429, while still a choral/orchestral works; opera conducting/ opera chorus master; early music; new layman, he entered the controversy music; collegiate show choir; Latin American concerning whether Mary should be ensembles; world music; youth and children’s /LYLQJ0XVLF called Mother of Christ or Mother of choruses; teaching undergraduate God.
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