New Dates 2020 2021

Total Page:16

File Type:pdf, Size:1020Kb

New Dates 2020 2021 DATES 2020 POSTPONED, UNFORTUNATELY POSTPONED Beethovenfest Bonn is pleased to inform you that – despite restrictions We deeply regret that Beethovenfest Bonn 2020 – due to the continued Ticket returns due to the COVID-19 pandemic – two projects will take place in the 2020 uncertainty surrounding the COVID-19 pandemic – will not take place as anniversary year as planned. The special concert ‘Missa im Dom’ will take planned from September 4 – 27, 2020. Fortunately, we have been able to As organizer of Beethovenfest Bonn, we waive our legal right to issue place in the Cologne Cathedral on August 21, 2020. This will be closed to postpone the festival almost in its entirety, and it will now take place – vouchers for returned tickets; instead, we are refunding the net ticket NEW the public but broadcast online via livestream. The ‘BAUPROBE BEETHO- under the artistic direction of Nike Wagner – from August 20 to Sep­ price, not including any advance purchase fees. This applies to all Beet- DATES VEN’ project by the Berlin artists’ collective Rimini Protokoll – a theatrical tember 10, 2021. hovenfest tickets purchased before May 5, 2020. Due to continued high 2021 inspection of the Beethovenhalle construction site – will also take place as For the nearly 60 events originally planned as part of the 2020 festival, the volumes being processed by ticket offices, customers can expect to wait at 2020 planned in strict accordance with COVID-19 restrictions and guidelines. following changes apply: least eight to ten weeks before their refund is issued. Already purchased E tickets can be exchanged for a different Beethovenfest Bonn 2021 concert 1. Concerts taking place in 2020 starting in early December 2020, when advance purchase for 2021 perfor- The concert ‘Missa solemnis’ in the Cologne Cathedral on August 21, mances begins. 2020 will be closed to the public but broadcast online via livestream. The free tickets to this performance are no longer valid. Returns are being processed via the respective sales channel or ticket The four performances of the theatrical inspection of the Beethoven- office: halle construction site ‘BAUPROBE BEETHOVEN’ from September 12 – 13, 2020 (at 11 am and 3 pm each day) will take place as plan­ 1. Online shop and ticket hotline ned, with tickets still available for advance purchase (see below). Return/refund requests for tickets purchased through our online shop or by telephone via the Beethovenfest hotline (+49 228 – 50 20 13 13) should 2. Concerts postponed until 2021 please be directed to our after-sales service: DERTICKETSERVICE.DE The majority of Beethovenfest Bonn 2020 concerts will be postponed GmbH & Co. KG, After Sales Service, Postfach 102223, 50462 Köln, Ger- ● 311 Fri 21 Aug 8 pm Kölner Dom until 2021. Tickets already purchased for these performances remain many (or by email at [email protected]). They will handle all valid and do not need to be exchanged. You can find the new dates further processing. Online and telephone ticket sales are not handled SPECIAL CONCERT for these performances on the back of this flyer (printed next to the by Beethovenfest Bonn directly, but through an external agency. Genia Kühmeier soprano | Rachel Frenkel alto original dates). Ticket holders unable to attend a rescheduled per- Sebastian Kohlhepp tenor | Andreas Wolf bass formance may return their tickets for a refund (see below). 2. Tickets purchased at other ticket offices Vokalensemble Kölner Dom | Concerto Köln | Kent Nagano conductor (Tickets sales for these concerts have been stopped as of May 5, 2020. For tickets purchased directly from other external ticket offices, please Ludwig van Beethoven: Mass for four soloists, choir, orchestra and Tickets for the rescheduled performances and any additional Beet- contact the ticket office directly. If the ticket office has closed tempo- orgue in D major, op. 123 ('Missa solemnis') hovenfest Bonn 2021 concerts will be available for advance purchase rarily due to the current situation, please contact Beethovenfest Bonn Karlheinz Stockhausen: 'Gesang der Jünglinge'. Electronic music starting in early December 2020.) by email at [email protected] and we will find a solu- Transmission on the Internet tion for you. Sponsored by RAU Foundation 3. Cancelled concerts More information at www.beethovenfest.de Unfortunately, several concerts scheduled for 2020 could not be post- 3. Donations poned since the given tours/programs/productions could not be Customers who would like to support the work of Beethovenfest Bonn rescheduled for 2021. These concerts are listed on the back of the by making a donation can simply request a ticket price refund and flyer as ‘Cancelled‘. Ticket holders for these concerts can also return then wire a donation in the amount of their choice to Beethovenfest their tickets for a refund (see below). Bonn (Bank: Sparkasse KölnBonn, IBAN: DE97 3705 0198 0000 0256 35). Please then send an email ([email protected]) with the name/address of the person to whom we should address the donation Tickets for ‘BAUPROBE BEETHOVEN’ receipt. You can also become a member of the International Friends of the Tickets for the four ‘BAUPROBE BEETHOVEN’ performances as part of Beethovenfest Bonn. Information on membership can be found on our Beethovenfest Bonn 2020 are available for advance purchase through all homepage at www.beethovenfest.de/de/ueber-uns. Bonnticket offices. ● 101 Sat 12 Sep 11 am PREMIERE Beethovenhalle Tickets can also be purchased by telephone at +49 228 – 50 20 13 13 or ● 102 Sat 12 Sep 3 pm online at www.beethovenfest.de or www.bonnticket.de. Announcement of the new 2021 festival program: ● 103 Sun 13 Sep 11 am Tickets can also be ordered via postal mail. Please mail your order to: early September 2020 ● 104 Sun 13 Sep 3 pm DERTICKETSERVICE.DE GmbH & Co. KG | Große Neugasse 2 | 50667 Köln | Germany Tickets for Beethovenfest Bonn 2021 available for advance 'RISE AGAIN, Rimini Protokoll Please note the special entrance requirements (more information at purchase: YES, RISE AGAIN' 'BAUPROBE BEETHOVEN' (world première) www.beethovenfest.de). early Dezember 2020 More information at www.beethovenfest.de POSTPONEMENTS 2020 E 2021 www.beethovenfest.de AUGUST 20 – SEPTEMBER 10, 2021 ● 5 ● 10 ● 203 ● 18 ● 23 ● 30 ● 38 Sat 5 Sep 2020 Cancelled Wed 9 Sep 2020 E Tue 31 Aug 2021 Sun 13 Sep 2020 E Sun 5 Sep 2021 Wed 16 Sep 2020 E Wed 8 Sep 2021 Sat 23 Sep 2020 E Sa 4 Sep 2021 Wed 23 Sep 2020 Cancelled Fri 25 Sep 2020 E Wed 25 Aug 2021 8 pm | Rhein­Sieg­Halle 8 pm | Oper Bonn 5 pm | Viktoriabad 8 pm | Harmonie Endenich 8 pm | WCCB 8 pm | WCCB 8 pm | Burg Namedy Düsseldorfer Symphoniker, BEETHOVEN / LISZT CYCLE 2 Romeo Castellucci JAZZ ENCOUNTERS 2020 LEONORE CYCLE PRIZEWINNER CONCERT Adam Fischer Hinrich Alpers, Boris Bloch 'Pavane für Prometheus' QUADRIVIUM Zürcher Kammerorchester, Daniel Hope Opera Fuoco, David Stern Goldmund Quartett Beethoven: 'Fidelio 44' Beethoven: Symphonies no. 2 and no. 5 M. Stockhausen a. o. Beethoven, Bernstein, Gershwin Mayr: 'L’amor coniugale' Haydn, Beethoven, Schubert ● 16 ● 6 ● 11 Sun 13 Sep 2020 Fri 3 Sep 2021 ● 209 ● 24 ● 31 ● 39 All times and places remain the E Sat 5 Sep 2020 E Sat 28 Aug 2021 Wed 9 Sep 2020 E Tue 7 Sep 2021 6 pm NEW 8 pm Thu 17 Sep 2020 E Thu 9 Sep 2021 Sat 19 Sep 2020 E Sa 28 Aug 2021 Wed 23 Sep 2020 E Wed 1 Sep 2021 Sat 26 Sep 2020 E Tue 7 Sep 2021 same! Deviating time only for 8.30 pm | Staatenhaus Köln 8 pm | Stadttheater Rheinbach Steigenberger Grandhotel Petersberg 5 pm | Viktoriabad 8 pm | Kleine Beethovenhalle 8 pm | Harmonie Endenich 8 pm | WCCB ● 3 und ● 16 CAMPUS CONCERT AURYN QUARTET 1 BEETHOVEN / LISZT CYCLE 3 Romeo Castellucci BEETHOVEN / LISZT CYCLE 4 JAZZ BEETHOVEN / LISZT CYCLE 5 Knut Hanßen, Campus Project Auryn Quartett, wind soloists Hinrich Alpers, Boris Bloch 'Pavane für Prometheus' Konstantin Scherbakov Pulsar Trio Cyprien Katsaris, Etsuko Hirose Orchestra with Bundesjugendorchester, Mozart, Nielsen, Beethoven Beethoven: Symphonies no. 6 and no. 4 Beethoven: Symphonies no. 8 and no. 7 Works for sitar, piano and drums Beethoven: 'Chorfantasie' and ● 1 Johannes Kalitzke ● Symphony no. 9 Fri 4 Sep 2020 Fri 20 AUG 2021 210 E Beethoven, Kurtág, Gedizlioğlu, ● 12 ● 204 Thu 17 Sep 2020 E Thu 9 Sep 2021 ● 25 ● 32 8 pm | WCCB Stockhausen Thu 10 Sep 2020 Wed 8 Sep 2021 Sun 13 Sep 2020 Sun 5 Sep 2021 Sun 20 Sep 2020 So 5 Sep 2021 Thu 24 Sep 2020 Cancelled ● 40 OPENING CONCERT E E 8 pm | Viktoriabad E 8 pm | Stadtmuseum Siegburg 8 pm | Viktoriabad Romeo Castellucci 4 pm | Theater Marabu 8 pm | WCCB Sat 26 Sep 2020 E Fri 27 Aug 2021 N.N. ● 7 Beethoven: Symphony no. 9 AURYN QUARTET 2 Romeo Castellucci 'Pavane für Prometheus' FAMILY EVENT LEONORE CYCLE 8 pm | Collegium Leoninum Sun 6 Sep 2020 E Sun 29 Aug 2021 Auryn Quartett, wind soloists 'Pavane für Prometheus' Theater Marabu Les Talens Lyriques, Christophe Rousset PRIZEWINNER CONCERT 11 am | Staatenhaus Köln Beethoven, Prokofiev, Brahms ● 'Hast du schon gehört?' Gaveaux: 'Léonore ou L’amour conjugal' Tomoki Sakata ● 2 19 CAMPUS CONCERT ● Beethoven, Takemitsu, Ravel, Fauré Sat 5 Sep 2020 Sat 21 Aug 2021 205 Thu 17 Sep 2020 E Fri 27 Aug 2021 E Campus Project Orchestra with ● 13 Tue 15 Sep 2020 E Tue 7 Sep 2021 8 pm | WCCB ● 26 ● 33 11 am | WCCB Bundesjugendorchester, Fri 11 Sep 2020 E Fri 3 Sep 2021 5 pm | Viktoriabad PRIZEWINNER CONCERT Sun 20 Sep 2020 E So 5 Sep 2021 Thu 24 Sep 2020 E Thu 9 Sep 2021 ● 41 OPENING MATINEE Johannes Kalitzke 8 pm | WCCB Romeo Castellucci Cunmo Yin, World Doctors Orchestra, 6 pm | Beethoven­Haus
Recommended publications
  • Daniel Saidenberg Faculty Recital Series
    Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C.
    [Show full text]
  • PROGRAM NOTES Ludwig Van Beethoven Overture to Fidelio
    PROGRAM NOTES by Phillip Huscher Ludwig van Beethoven Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria. Overture to Fidelio Beethoven began to compose Fidelio in 1804, and he completed the score the following year. The first performance was given on November 20, 1805, at the Theater an der Wien in Vienna. Beethoven revised the score in preparation for a revival that opened there on March 29, 1806. For a new production in 1814, he made substantial revisions and wrote the overture performed at these concerts. The overture wasn’t ready in time for the premiere on May 23, 1814, in Vienna’s Kärntnertor Theater, but it was played at the second performance. The overture calls for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, timpani, and strings. Performance time is approximately six minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Beethoven’s Overture to Fidelio were given at the Auditorium Theatre on December 14 and 15, 1894, with Theodore Thomas conducting. Our most recent subscription concert performances of the overture (and the complete opera) were given at Orchestra Hall on May 26, 28, and 31, 1998, with Daniel Barenboim conducting. The Orchestra first performed this overture at the Ravinia Festival on July 16, 1938, with Willem van Hoogstraten conducting, and most recently on July 30, 2008, with Sir Andrew Davis conducting. Nothing else in Beethoven’s career caused as much effort and heartbreak as the composition of his only opera, which took ten years, inspired four different overtures, and underwent two major revisions and a name change before convincing Beethoven that he was not a man of the theater.
    [Show full text]
  • Beethoven's Creative Process of Composition
    Click here for Full Issue of Fidelio Volume 7, Number 3, Fall 1998 Beethoven’s Creative Process of Composition Reflections on Leonore (1806) And Fidelio (1814) by Anno Hellenbroich In the springtime of my life Fortune fled from me! I dared to boldly tell the truth, And chains are my reward. Florestan’s Aria, Fidelio, Act II Come, Hope! Let not the last star Of the weary be dimmed! Light my goal, be it ever so far, Love will attain it. I follow my inner impulse; I waver not; The duty of true married love Strengthens me! Leonore’s Aria, Fidelio, Act I t least three completely different productions of Beethoven’s Great Opera Fidelio (1814) were pre- Asented on German stages in 1997 alone. Can it be, that Beethoven’s musical personification of a great figure as wife, Leonore—who, in her singing celebrates Y not only “true married love,” but, by risking her life, N , n o i achieves the rescue of Florestan in the dramatic develop- t c e l l o ment of the “Great Opera”—might have a completely C r e unheard-of effect at the present historical turning point? g n a r G For sure, it is certain that the number of Fidelio perfor- e h T mances demonstrates, that, completely contrary to the Florestan is saved from Pizarro by Leonore. spirit of the times, people today are more than ever seek- ing the impact of Beethovenesque “Great Opera.” The musical changes from Leonore to If one examines the performances in detail, it is com- Fidelio—the dimly conscious metaphor pletely apparent from them, that there are still directors living in the old era of ’68-generation “director’s theater” of ‘liberation of creative power through (Regietheater).* According to one review, one of the freedom’—can be recognized as the __________ ‘loose cords’ through which the work of * A recent decades’ fad, according to which theatrical “freedom” is art is tightened and shaped.
    [Show full text]
  • PROGRAM NOTES Ludwig Van Beethoven Leonore Overture No. 3
    PROGRAM NOTES by Phillip Huscher Ludwig van Beethoven Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria. Leonore Overture No. 3 Beethoven began to compose Fidelio in 1804 and completed the score the following year. The first performance was given on November 20, 1805, at the Theater an der Wien in Vienna. When Beethoven revised the score in preparation for a revival that opened there on March 29, 1806, he reworked the overture as Leonore Overture no. 3. The overture calls for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings, and an offstage trumpet. Performance time is approximately thirteen minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Beethoven’s Leonore Overture no. 3 were given at the Auditorium Theatre on January 29 and 30, 1892, with Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on October 29, 30, 31, and November 1, 1997, with Michael Gielen conducting. The Orchestra first performed this overture at the Ravinia Festival on July 23, 1936, with Isaac Van Grove conducting, and most recently on August 5, 2007, with James Conlon conducting. Of the four overtures Beethoven wrote for his opera Leonore—later renamed Fidelio—only the one called Leonore no. 3 has gained favor both in the concert hall, where it is much loved, and in the opera house, where it is often played, inappropriately, just before the finale. That it is an intruder in the opera house, where it can too easily overshadow all but the greatest performances of Fidelio, is something Beethoven himself could easily have told us.
    [Show full text]
  • Overture to Fidelio, Op. 72C
    Listen for the piccolo toward the end of the last movement of Beethoven’s Fifth. It’s an iconic little bling from an instrument that had never been used in a symphony before — a wickedly fast, articulated scale that has to cut through the entire orchestra. ANNE WHALEY LANEY, NCS PRINCIPAL FLUTE In Beethoven’s Fifth Symphony, the trombones do not play until the triumphant C- major chords, which herald the beginning of the fourth movement. It’s a glorious moment that never grows old to play or to listen to. JOHN ILIKA, NCS PRINCIPAL TROMBONE Overture to Fidelio, Op. 72c LUDWIG VAN BEETHOVEN BORN December 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna PREMIERE Composed 1814; first performance May 26, 1814, in Vienna, conducted by the composer OVERVIEW Beethoven’s only opera, Fidelio, underwent numerous major revisions before the composer arrived at the final version. The overture to the opera underwent even greater transformations. We have today four different overtures, all of them popular in the concert hall. The first three are called Leonore (Nos.1, 2, and 3), after the heroine’s name and original title of the opera; the fourth is known as Fidelio, Leonora’s pseudonym and Beethoven’s final title of the opera. The complex plot is a paean to marital fidelity and political justice. Leonore disguises herself as a young man (Fidelio) to free her husband, Florestan, who has been incarcerated unjustly as a political prisoner. Beethoven’s difficulties with the earlier versions of the overture (the three entitled Leonore) stemmed from the fact that they were too dramatic and explicit, following the trajectory of the plot by including themes from the opera, thereby giving away the most dramatic and exciting moments.
    [Show full text]
  • Houston Grand Opera Orchestra & Houston Ballet Orchestra
    Houston Grand Opera Orchestra & Houston Ballet Orchestra 2019 Substitute and Extra Musicians Audition Material March 4th, 2019: Oboe & Bassoon March 6th, 2019: Horn, Trombone, Bass Trombone, Tuba, & Percussion March 7th, 2019: Violin, Viola, Cello, & Bass March 4th, 2019: Oboe & Bassoon Section Oboe Solo Repertoire Mozart, W. A. Oboe Concerto, Mvt. I, exposition Excerpts Brahms, J. Violin Concerto, Mvt. II, mm. 3–32 (Oboe 1) Strauss, R. Don Juan, beginning to four before B (Oboe 1) Strauss, R. Don Juan, four after L to seventeen after M (Oboe 1) Tchaikovsky, P. Casse-Noisette, Act I, No. 1, E to one before F (Oboe 2) Section Bassoon (optional Contrabassoon) Solo Repertoire Mozart, W. A. Bassoon Concerto, Mvt. I, exposition Excerpts Mozart, W. A. Le nozze di Figaro, Overture, mm. 1–58 Mozart, W. A. Le nozze di Figaro, Overture, mm. 139–171 Tchaikovsky, P. Casse-Noisette, Act I, No. 1, mm. 84–117 (Bassoon 1) Tchaikovsky, P. Casse-Noisette, Act II, No. 12b, mm. 33–End [skip long rests] (Bassoon 1) Wagner, R. Tannhäuser (Paris version), Overture, mm. 1–37 (Bassoon 2) Optional Contrabassoon Excerpt Strauss, R. Salome (full orchestration), six after 151 to four after 154 March 6th, 2019: Horn, Trombone, Bass Trombone, Tuba, & Percussion Section Horn Solo Repertoire Mozart, W. A. Concerto No. 2, Mvt. I, exposition or Mozart, W. A. Concerto No. 4, Mvt. I, exposition Excerpts Beethoven, L. Fidelio, Overture, mm. 5–16 (Horn 2 in E) Beethoven, L. Fidelio, Overture, mm. 45–55 (Horn 2 in E) Beethoven, L. Piano Concerto No. 5, mm. 14–107 (Horn 2 in E♭) Tchaikovsky, P.
    [Show full text]
  • Beethoven's Fidelio Study Guide for Secondary
    BEETHOven’s FIDELIO STUDY GUIDE FOR SECONDARY SCHOOLS BY CARLO DELFRATI 3 Study GUIDE for Secondary SCHOOLS Introduction The plot This guide is intended to introduce students The plot of Fidelio is simple. Set in Spain, it to opera: its language, characteristics, and deals with an episode that some sources conventions. It’s designed for secondary report actually took place during the Jac- schools, whether upper or lower (or middle obin Reign of Terror (1793-94), but there are and high schools in the US) depending on strong doubts about its authenticity. It fol- the topic, and offers a variety of educational lows a genre cultivated in France and Italy suggestions that can be used by teachers in by other composers, such as Pierre Gaveaux, whatever manner works best for their ori- Ferdinando Paer, Simone Mayr, and Luigi entation, course work, or the educational Cherubini. The main theme of “rescue opera” scheme in which they work. or opéra à sauvetage was the rescue of the The historical and musicological essays con- protagonist from danger or even death, with tained in this volume and on the accompa- the inevitable happy ending that featured nying DVD-ROM explore a range of topics the triumph of the ideals of liberty. about the figure of Beethoven, including the At the beginning of the first of two acts into inevitable topic of his deafness, along with which Fidelio is divided, young Jaquino is the changing role of the composer in soci- wooing Marzelline, the daughter of Rocco, ety. They tell the complicated backstory of the jailer of a state prison.
    [Show full text]
  • Lnternationales Beethovenfest Bonn1970
    111. Zyklus Weitere Veranstaltungen im 11. bis 17. Dezember 1970 Rahmen des Beethovenfestes 1. Festaufführu!"g Fidelio 3. Konzert Liederabend 7. Mai 1970 m Solisten: Dietrich Fischer-Dieskau, Bariton Verleihung des Beethovenpreises 1970 der Stadt Bonn Freitag, 11 . 12. Montag, 14. 12. Jõrg Demus, Klavier 20.00 Uhr lngrid Bjoner - Lucia Popp - 20.00 Uhr 2. bis 29. September 1970 Theater der Ludovic Spiess - Donald Grobe - Beethovenhalle In questa tomba oscura lnternationale Meisterkurse der Staatlichen Hochschule Stadt Bonn Franz Crass u. a. GroBer Saal An die Hoffnung, op. 94 6 Lieder nach Gedichten von Gellert, op. 48 für Musik Koln in Verbindung mil der Stadt Bonn Orchester der Beethovenhalle Bonn Pre ise A Preise B Chor des Theaters der Stadt Bonn An die ferne Geliebte, op. 98 Der Wachtelschlag Mai, September und Dezember 1970 lnszenierung: Karl Pempelfort Adelaide, op. 46 Sonderführungen durch Beethovens Geburtshaus 5 Lieder nach Goethetexten aus op. 52, 75 und 83 Mai, September und Dezember 1970 onn 2. Festaufführung Fidelio Führungen über den Alten Friedhof (u. a. Graber von Solisten: Beethovens Mutter, Robert und Clara Schumann, Samstag, 12. 12. Sonderkonzert Klavierabend Mathilde Wesendonck, Eisa Reger, Simrock, Schlegel, Arndt u. a. ) 20.00 Uhr lngrid Bjoner - Lucia Popp - Ludovic Spiess - Donald Grobe - Jõrg Demus Theater der Dienstag, 15. 12. Mai und September 1970 Franz Crass u. a. an historischen Beethovenflügeln Stadt Bonn 20.00 Uhr 19 (Veranstaltung des Vereins Beethovenhaus) Sonderausstellung der Sti:idt. Kunstsamm lungen Bonn Orchester der Beethovenhalle Bonn Beethovenhalle ,Romantische Landschaft .am Rhein" Pre ise A Chor des Theaters der Stadt Bonn Studio Rondo G-dur, op.
    [Show full text]
  • Opera Opposed to Opera: "Così Fan Tutte" and "Fidelio" Author(S): Edward W
    Opera Opposed to Opera: "Così fan tutte" and "Fidelio" Author(s): Edward W. Said Source: Profession, (1998), pp. 23-29 Published by: Modern Language Association Stable URL: https://www.jstor.org/stable/25595634 Accessed: 05-02-2020 22:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to Profession This content downloaded from 128.32.10.230 on Wed, 05 Feb 2020 22:38:35 UTC All use subject to https://about.jstor.org/terms Opera Opposed to Opera: Cosi fan tutte and Fidelio EDWARD W. SAID The topic of influence and its anxieties, so rich in the history of literature, is less discussed in the history of music. Certainly the intimidating and in hibiting effect of Ludwig van Beethoven's Nine on subsequent symphon ists (Brahms, Mahler, Bruckner) is much referred to, but the dynamics of an active, energizing struggle with an antecedent both disliked and re spected have not often received much attention. This is a pity, since the case I want to consider here helps us make more sense of two popular and yet very problematic operas, one that I believe follows the other with consider able agitation.
    [Show full text]
  • Allegory and Ethics in Beethoven's Fidelio
    Document generated on 09/27/2021 7:40 p.m. Les Cahiers de la Société québécoise de recherche en musique Allegory and Ethics in Beethoven’s Fidelio Allégorie et éthique dans le Fidelio de Beethoven Stephen Rumph Éthique, droit et musique Article abstract Ethics, Law and Music Few operas foreground ethics as clearly as Beethoven’s Fidelio. Yet the heroic Volume 11, Number 1-2, March 2010 tale of liberation from political oppression resists narrowly historical interpretations, availing itself equally to revolutionary and reactionary URI: https://id.erudit.org/iderudit/1054023ar interpretations. Allegory theory offers a new approach to the ethical meanings DOI: https://doi.org/10.7202/1054023ar of Fidelio. Allegory, in which characters embody moral qualities, preserved a hierarchical and theocentric view of society, in opposition to the humanistic outlook of Enlightenment mimesis. Allegory and mimesis coexist in Fidelio, See table of contents whose title character traces a lineage to the Christian morality play. This essay compares the 1805 original of Beethoven’s opera (Leonore) with the 1814 version (Fidelio), concentrating on the final scene and the character of Publisher(s) Marzelline. I argue that the 1814 version enhances the allegorical dimension, simplifying the characters and reducing moral complexities. Fidelio models the Société québécoise de recherche en musique traditional “consensus society” of pre-Revolutionary Europe, offering a vision congenial to Congress of Vienna audiences. ISSN 1480-1132 (print) 1929-7394 (digital) Explore this journal Cite this article Rumph, S. (2010). Allegory and Ethics in Beethoven’s Fidelio. Les Cahiers de la Société québécoise de recherche en musique, 11(1-2), 47–60.
    [Show full text]
  • 1 Concert 5 – Mahler & Beethoven March 21, 2020 Egmont Overture, Op. 84—Ludwig Van Beethoven Beethoven Wrote Almost
    Concert 5 – Mahler & Beethoven March 21, 2020 Egmont Overture, op. 84—Ludwig van Beethoven Beethoven wrote almost a dozen overtures, the most famous, of course, being the four that are connected with his only opera, Fidelio. Some are awful, like Wellington’s Victory, and others are of the stellar quality that the composer’s name evokes. Without doubt, in the forefront of the latter group is the Egmont overture from 1809-10. It is a commonplace of the history of the arts that some artists create a deep reflection of their times and circumstances (to the delight of aficionati who prize personality), while other artists are able to pursue their art in an Olympian detachment from personal circumstances. Beethoven unquestionably could work in the latter fashion, and the Overture to Egmont fits the bill. Vienna was in turmoil during the summer of 1809, owing to the occupation of Napoleon’s army, and the state of the economy and currency values added to everyone’s distress. Beethoven—always concerned with money—took it all with difficulty, but was able to put it aside and compose some of his most important works. Completion of the “Lebewohl” piano sonata and the “Harp” string quartet, as well as initial work on the “Emperor” piano concerto date from that summer, and so does the composition of Egmont. That being said, it is not difficult to draw the conclusion that much of the storm and triumph of the overture stems from the anxiety over the French invasion. Beethoven was a great admirer of Goethe, and was commissioned to provide incidental music for a performance of his play about the heroic death of Count Egmont in the fight to liberate the Netherlands from Spanish rule.
    [Show full text]
  • Jan Marisse Huizing Quotations and Ideas in Beethoven's Piano
    Jan Marisse Huizing Quotations and Ideas in Beethoven’s Piano Sonatas With the composition of his piano sonatas, Beethoven left an oeuvre that since its inception has lost nothing of its significance. From his first sonatas onwards, he presented a musical spectrum from which new horizons are continually revealed, through which his creativity appears to be inextricably bound to his way of constantly finding a new language for each individual sonata and formulating his ideas, not only within each separate movement, but also for the work as a whole. In this paper I would like to focus on some ‘new ideas’ Beethoven is using in several of his piano sonatas,1 whereby, to begin with, I would like to mention the significance of specific musical quotations from Bach, Handel and Mozart in his piano sonatas. While some quotations might just be of general interest, others may indeed influence the manner in which an interpretation takes its form. Of course, a well-known example is Beethoven’s quotation from the opening of Mozart’s sonata in C, K. 457 for the beginning of his Op. 10 No. 1, but what about the quotation from Mozart’s Adagio in B minor, K. 540 that Beethoven is using in the slow movement of his sonata Op. 10 No. 3? This Largo e Mesto is in general considered as the first real example of tragic music in Beethoven’s oeuvre. Compare the beginning of Mozart’s Adagio with the moment when Beethoven turns in the second movement of his sonata from major to minor again in bar 17.
    [Show full text]