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Beethoven's World

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Beethoven's World Beethoven’s World REICHA • ROMBERG CONCERTOS FOR TWO CELLOS Bruno Delepelaire • Stephan Koncz Deutsche Radio Philharmonie Reinhard Goebel Antonín Reicha (1770-1836) Sinfonia Concertante in E Minor / E Major for two Cellos and Orchestra (1805) Sinfonia Concertante e-Moll / E-Dur für zwei Violoncelli und Orchester 1. I. Allegro non troppo 21:49 2. II. Largo 6:33 3. III. Moderato 10:04 world premiere recording / Weltersteinspielung Recording: 26th – 30th of November 2018, Bernhard Romberg (1767-1841) Großer Sendesaal des Saarländischen Rundfunks, Saarbrücken, Germany Executive producers: Michael Brüggemann (Sony Music) & Concertino op. 72 Anna Iskina (anna iskina arts management) Recording producer: Nora Brandenburg for two Cellos and Orchestra (c. 1840) Recording engineer: Thomas Becher Concertino op. 72 Editing: Nora Brandenburg, Maria Emma Lain Fernandez für zwei Violoncelli und Orchester Mastering: Nora Brandenburg Cover photo: davjan / photocase.de 4. I. Allegro moderato 6:31 Photos: © Wolf Silveri (Reinhard Goebel), © Fadil Berisha (Stephan Koncz), 5. II. Andante grazioso 2:50 © Peter Adamik (Bruno Delepelaire), © Werner Richner (DRP) 6. III. Rondo: con allegrezza 5:44 Artwork: Demus Design ℗ 2020 Saarländischer Rundfunk / Südwestrundfunk & Sony Music Entertainment Germany GmbH © 2020 Sony Music Entertainment Germany GmbH Josef von Eybler (1765-1846) A recording by Saarländischer Rundfunk & Südwestrundfunk Divertisment für Fasching Dienstag (1805) in coproduction with Sony Music Entertainment Germany GmbH for Orchestra / für Orchester www.reinhardgoebel.net www.drp-orchester.de 7. I. Entrada – Marcia 2:03 www.berliner-philharmoniker.de/orchester/musiker/bruno-delepelaire 8. II. Contredanza 6:42 www.berliner-philharmoniker.de/orchester/musiker/stephan-koncz 9. III. Allemande 3:13 www.sonyclassical.com/de www.annaiskina.com world premiere recording / Weltersteinspielung Total Time: 65:35 Bruno Delepelaire, cello / Violoncello Stephan Koncz, cello / Violoncello Deutsche Radio Philharmonie Saarbrücken Kaiserslautern Reinhard Goebel, conductor / Dirigent Reicha – Romberg – Eybler By 1792 Beethoven was studying in Vienna, his studies paid for by Max- imilian Franz, the strictness of whose supervision was matched only by “[…] so that, if he were already the elector of Cologne, I’d already be his the severity of his criticisms. Beethoven’s aim was to receive “the spirit Kapellmeister” – this was another of those castles in the air that Wolfgang of Mozart from Haydn’s hands”. His only comment on his lessons with Amadé Mozart routinely constructed in his correspondence. On this par- Haydn was that he “didn’t learn a thing from him”, while Haydn’s substi- ticular occasion he was euphorically drunk on the air of the Austrian cap- tute teacher, Johann Georg Albrechtsberger, was of the view that “noth- ital, fired by his feelings of love for Constanze and intensely relieved to be ing good” would ever come of him. finally free from his father’s stifling embrace. In reality, of course, the situ- ation looked very different. When Maximilian Franz (1756–1801), the young- In 1796 the violinist Andreas Romberg and his violoncellist cousin Bernhard est son of Maria Theresa and Franz I, became the elector of Cologne in arrived in Vienna after completing a tour of Italy that had taken them 1784, his first priority was to implement urgently needed internal political to Venice, Rome and Naples. In the imperial capital they refreshed their reforms designed to liberate the region’s population from its profound memories of their idol Joseph Haydn, to whom they had been introduced superstitions and equally profound lethargy in an area along the banks when Haydn had visited Bonn on 25 December 1790. Beethoven appeared of the Rhine that for centuries had been ravaged by the constant forced with the Rombergs at a concert in Vienna, prompting Lorenz von Breuning marches of enemy armies. Above all, he was keen to modernize the state to write to Franz Gerhard Wegeler in Bonn on 7 January 1797: “Bethhofen along the enlightened lines pioneered by Prussia. [sic] is here again. He played at the Rombergs’ concert. He is much the same as before, and I am glad that he and the Rombergs are still getting Maximilian Franz played the violin and was also a decent singer. And, like along with each other. They almost had a falling-out, but I mediated and his brother Joseph II, who had been emperor since 1765, he was eager pretty much achieved all that I set out to do.” to raise the cultural profile of his court and of his seat of power. After establishing literary societies and a German-language theatre, he even The Rombergs remained in Vienna only until January 1797. Andreas was founded a university in 1786. It was at this last-named institution that Louis increasingly inclined to settle down, but his violoncellist cousin, Bernhard, van Beethoven and Antonín Reicha matriculated as students of philos- continued to crisscross Europe, impelled by his desire to travel and to visit ophy on 14 March 1789. Both men had been born in 1770 and were mem- places as far apart as London and Lisbon, Stockholm and St Petersburg. bers of the court orchestra that developed into a respectable ensemble Not until 1807 did he return to Vienna. under Maximilian Franz’s influence, with many eminent musicians among its ranks, including Franz Anton Ries, Nicolaus Simrock, Ignaz and Max Will- Romberg had resigned his position with the king of Prussia, but his negoti- mann, Andreas Jakob and Bernhard Heinrich Romberg. The paths of all of ations with Count Kinsky aimed at obtaining a post in Vienna were becom- these musicians were later to cross repeatedly in Vienna. ing unduly protracted, and his opera Ulisses und Circe – a subject of burn- ing topicality in the age of the Napoleonic Wars – had been so savagely Only days after he had blessed his subjects from the Town Hall steps in reviewed when it was staged at the Theater an der Wien on 5 March 1808 Bonn on 3 October 1794, Maximilian Franz had boarded a boat that was to that he found it expedient to slip away from Vienna as quickly as possible. transport him up the Rhine in order for him to escape from the advancing A weight must have been lifted from Beethoven’s mind, too, after Romberg French Revolutionary troops, while the court’s valuables, furniture, state had found grace and favour with Prince Lobkowitz, prompting Beethoven archive and huge music library had been catalogued, packed up and to inform both of his aristocratic patrons that he was planning to leave shipped, a process to which its participants were all too well inured. At Vienna and take up a post at Jérôme Bonaparte’s Westphalian court in that point the Electorate of Cologne collapsed, and all of its musicians Kassel. It is also reported that when Beethoven offered to write a violon- were de facto left unemployed. cello concerto for Romberg, the latter declined the offer, insisting that he only ever played his own works in public. It may be added that – ionically – The forty-two-year-old music director, Josef Reicha, remained in Bonn, this was also true of Beethoven himself. as did the Ries family and the former bookseller and publisher Nicolaus Simrock, but anyone who could do so left this hotbed of unrest and set off Not until December 1821 did Romberg – now internationally acclaimed as for the imperial capital of Vienna, the city furthest away from the natural the “Paganini of the Violoncello” – return to Vienna. Beethoven, already border of the Rhine. ailing, apologized for not being able to attend his concert, noting that he was “suffering from the earache that usually affects me at this time of the year” and signing his letter “farewell, great artist! As ever, your Beethoven”. Bruno Delepelaire Far more problematical were Beethoven’s relations with the brilliant and Frenchified Antonín Reicha, who arrived in Vienna in 1802. A native of Bohe- mia, he undoubtedly coped better with the capital’s polyglot mentality than Beethoven, a friend of his youth who frequented illustrious circles in Vienna, while habitually rubbing people up the wrong way. But whenever things got too hot for Beethoven, sympathetic countesses would always come running to help him, evidently fascinated by his rustic, polarizing manners. Prince Lobkowitz maintained a private orchestra under the leadership of Anton Wranitzky, and this he placed at Reicha’s disposal for the works that the latter had written in Hamburg and Paris, but worse was to follow for Beethoven, when Reicha succeeded in gaining an entrée to the music salon of Empress Maria Theresa (1772–1807), a salon from which Beethoven was barred. Reicha recalled that “I was presented to the Empress [who] was deeply interested in music and herself an excellent musician. She sang and was able to play accompaniments from a figured bass. […] The Empress gave me an Italian opera […] to set to music.” Although Beethoven had dedicated the first printed edition of his Septet op. 20 to her, the gates of Schönbrunn remained closed to him, as did the doors of her Haus der Laune in Laxenburg and of the Hofburg in Vienna’s inner city. He was the only person to be excluded in this way, since the fun-loving empress had no inhibitions – much to the horror of her fawning, eye-rolling courtiers. As a result, Reicha, who, like the Rombergs, admired Haydn unreservedly, scrambled ahead of Beethoven on the rungs of the career ladder, reduc- ing the latter to ridiculing his ostensible rival. And so we find him writing to Breitkopf in Leipzig and making fun of Reicha’s Thirty-Six Fugues, which their composer had dedicated to Haydn: “A certain French composer presented me with fugues après une nouvelle methode [recte méthode], the method amounting to this, that the fugue is no fugue.” Only three weeks earlier he had dined with this “certain” Reicha.
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