Overture to Egmont, Op. 84
Ludwig van Beethoven (1770-1827)
Besides the Overture, Beethoven provided two songs, four entr’actes, music for the death of Egmont’s beloved Klärchen, a ‘melodrama’ and a final ‘Victory Symphony’ for Goethe’s drama. In all, the music lasts 45 minutes. It was reviewed favourably at its first hearing, and is said to have made a significant contribution towards Goethe’s play. Although Goethe admired Beethoven’s music, he disapproved of the composer’s unruly ways. For his part, Beethoven appreciated Goethe’s writing, his poetry in particular, but deplored his willingness to please the wealthy and influential figures of the time. Goethe approved of the music wholeheartedly and lavished it with praise. First performed about two centuries ago, its component parts have drifted apart somewhat. The play and the incidental music are rarely performed together but the overture continues to flourish as a popular concert item.
The Egmont overture does not ‘tell the story’ of the play but it succeeds in conjuring forth the essential moods of the drama: despair followed by triumph. The listener can follow the music’s progress by noting significant changes in character, for example the three distinct tempi: the slow opening (sostenuto ma non troppo); the swiftly-moving main central section (allegro); and the coda (allegro con brio), which is even faster. Despite the hastening pace, Beethoven adheres to the darkness of the minor mode until the end, making the final section all the more jubilant. Other interesting features are the use of the opening rhythmic figure in a variety of guises. First appearing as a sombre, almost funereal statement, it is used again in the central section as a faster and more assertive statement, and towards the end by the woodwind and brass, almost as a fanfare.
Ludwig van Beethoven (1770-1827)
Besides the Overture, Beethoven provided two songs, four entr’actes, music for the death of Egmont’s beloved Klärchen, a ‘melodrama’ and a final ‘Victory Symphony’ for Goethe’s drama. In all, the music lasts 45 minutes. It was reviewed favourably at its first hearing, and is said to have made a significant contribution towards Goethe’s play. Although Goethe admired Beethoven’s music, he disapproved of the composer’s unruly ways. For his part, Beethoven appreciated Goethe’s writing, his poetry in particular, but deplored his willingness to please the wealthy and influential figures of the time. Goethe approved of the music wholeheartedly and lavished it with praise. First performed about two centuries ago, its component parts have drifted apart somewhat. The play and the incidental music are rarely performed together but the overture continues to flourish as a popular concert item.
The Egmont overture does not ‘tell the story’ of the play but it succeeds in conjuring forth the essential moods of the drama: despair followed by triumph. The listener can follow the music’s progress by noting significant changes in character, for example the three distinct tempi: the slow opening (sostenuto ma non troppo); the swiftly-moving main central section (allegro); and the coda (allegro con brio), which is even faster. Despite the hastening pace, Beethoven adheres to the darkness of the minor mode until the end, making the final section all the more jubilant. Other interesting features are the use of the opening rhythmic figure in a variety of guises. First appearing as a sombre, almost funereal statement, it is used again in the central section as a faster and more assertive statement, and towards the end by the woodwind and brass, almost as a fanfare.