Swafford notes the likelihood that ‘after his Heiligenstadt crisis of the precious Autumn, Beethoven felt a personal relationship to the suffering he was depicting. Perhaps unexpectedly, Beethoven’s teacher Albrechtsberger was targeted by Gustav Nottebohm for Beethoven’s ‘failure to receive thorough training in the form of the fugue’ – a statement that flies in the face of the Eroica Variations.
FRANZ JOSEPH HUBER FULL
There were ‘tales of long rehearsals, players already fatigued by the other works in the program’…but ‘there was still a full house.’Įarly reviews were relatively positive – but although the work ‘was good and contains a few first-rate passages…a number of ideas from Haydn’s Creation seem to have found their way into the final chorus’. Jan Swafford writes engagingly on the premiere of Christus, the original form given on 5 April 1803 in Vienna, in the company of the first two symphonies and the Piano Concerto no.3. Revising it for publication at long last eight years later, he described it defensively and apologetically to Breitkopf & Härtel as ‘my first work of that kind’ (a sacred oratorio) and, moreover, an early work…written in a fortnight in all kinds of disturbances and other unpleasant and distressing events in my life (my brother happened to be suffering from a mortal disease).”
He then writes how ‘Haste is evident in the inconsistent quality of the work, which ranges from routine recitatives and reasonably effective arias for Jesus and the Seraph, to bombastic choral writing for the warriors and youths. Lewis Lockwood tells how Beethoven wrote the work in two weeks, in close collaboration with Franz Xaver Huber, editor of the Wiener Zeitung and occasional librettist.
FRANZ JOSEPH HUBER TRIAL
This one was to be biblical, focusing in on a specific part of Christ’s Passion, where in the moment of greatest trial on the Mount of Olives, he begs God to relieve him of his suffering. Christ on the Mount of Olives by Giovanni (aka Josef Untersberger) Date unknownĬhristus am Ölberge (Christ on the Mount of Olives) Op.85 for soprano, tenor, baritone, chorus and orchestra (1803, revised 1811, Beethoven aged 32)įor the first time since the Joseph cantata of 1790, Beethoven was ready to write another large work for chorus and orchestra.
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