The Life of Ludwig van Beethoven, Volume IThayer, Alexander Wheelock
History
The Life of Ludwig van Beethoven, Volume I
Thayer, Alexander Wheelock
Beethoven, Ludwig van, 1770-1827
who was notoriously a slow worker, was unable to complete the music in
the short time which was at his disposal. The text of the cantata was
written by Severin Anton Averdonk, son of an employee of the electoral
Bureau of Accounts, and brother of the court singer Johanna Helene
Averdonk, who, in her youth, was for a space a pupil of Johann van
Beethoven. Beethoven set the young poet’s ode for solo voice, chorus
and orchestra without trumpets and drums. Brahms, on playing through
the score, remarked: “It is Beethoven through and through. Even if
there were no name on the title-page none other than that of Beethoven
could be conjectured.” The same thing may be said of the “Cantata
on the Elevation of Leopold II to the Imperial Dignity, composed by
L. V. Beethoven.” Leopold’s election as Roman Emperor took place on
September 30, 1790, his coronation on October 9, when Elector Max Franz
was present at Frankfort. This gives us a hint as to the date of the
composition. Whether or not the Elector commissioned it cannot be said.
Averdonk was again the poet. The two cantatas mark the culmination
of Beethoven’s creative labors in Bonn; they show his artistic
individuality ripened and a sovereign command of all the elements which
Bonn was able to teach him from a technical point of view.
OTHER WORKS OF THE BONN PERIOD
Two airs for bass voice with orchestral accompaniment are, to judge
by the handwriting, also to be ascribed to about 1790. The first is
entitled “‘Prüfung des Küssens’ (’The Test of Kissing’), V. L. V.
Beethowen.” The use of the “w” instead of the “v” in the spelling of
the name points to an early period for the composition. The text of
the second bears the title, “Mit Mädeln sich vertragen,” and was taken
by Beethoven from the original version of Goethe’s “Claudine von Villa
Bella.” Paper, handwriting and the spelling of the name of the composer
indicate the same period as the first air. The two compositions
remained unknown a long time, but are now to be had in the Supplement
to the Complete Works published by Breitkopf and Härtel.
Public-domain text, read in full here on John Shaqi.
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