The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1870-12-28
THE "FIDELIOo OF BEETHOVEN.
From AppItioH's JourHCL

].
The year 1904 was drawing to q close.
Beethoven, in the full vigor of youth, had
already produced his oratorio of 'Christ on
the Mount of Olives, when the Baron OF
Braun, the new director of the Imperial
Theatre at Vienna, proposed to him to write
an opera convinced, as he said, that the great
qualities of which he had exhibited proof in
instrumental music, would not fail to reveal
themselves in the dramatic style. Aside from
an honorable compensation, a lodging at the
theatre was offered to the composer. All
that he had to do was merely to make choice
of q subject A decision soon made In
favor Of C0njUgal LO0e, tragic lucubration
Of M. Bouilly, set to music by Gaveaux, and
also by Paer, who had brought out the work
in Italy under the name of Le0H0rd.
1t has always been question of thought
with me how Beethoven, with his genius,
eccentric and impatient, wandering in his
fight, like the eagle, could ever have been
inspired by such poor outline, by an anec-
dote merely suited to suggest subject for a
true melodrama of the olden time. 1t is evil
dent on this occasion that the musician yielded
to the pathos of the idea, and saw at one
glance, in that prosy fable, all the poetry of
emotion there concentrated.
Perhaps one ought to suppose that he took
il simply for what it was, without moments
reflection, the chef dGuOre of the poet, who
gave it to him.
As general thing the great masters, the
men of genius, rarely exercise much care in
the choice of their subjects. They take what
is given, and make the best out of it.
However, Beethoven threw himself into
the work with ardor and con dn0re, so that,
toward the close of 1905, he succeeded in
finishing the score.
Then began the true enbarrassments, the
real difficulties. When it became necessary
TO produce the work, singers were not to be
fo1nd. La Milder only, charged with the
role of Leonora, showed herself worthy of
her part; add to this, the war then impend-
ing between Austria and France, and you
have an idea of the unfavorable crcum-
stances under which FIdeIiO was brought out.
The opera of Beethoven appeared upon the
stage on the 20th of November, but without
the least hope of success. The public was
ayerse to that music which, notwithstanding
the obstacles we have mentioned, had the
great misfortune to pretend to be in advance
of it's time.
After three successive representations the
great work was suddenly suspended, and
was not brought out again until the 29th of
March, 1906. Although the order of the
piece was materially changed, and the action
was reduced from three to two acts, still the
public failed to appreciate it; and, after final
attempt, on the 10th of April, the chef-d 9u0re
theatre, there to sleep the sleep of the
Pharaohs.
Eight years passed by, but no one seemed
to trouble himself about FldeliO, until an
= unforeseen occasion rescued the score of
Beethoven from its secular oblivion-for
such it seemed to be.
Its reproduction, as was generally supposed,
called out notable changes, to which the great
master applied himself with greater energy.
The work was altered from its very founda-
tion, the dialogue was rewritten, and the
whole drama improved as much as possible.
The second act, which used to transpire
wholly within dungeon, now terminated on
q great day under the suns light-a dramatic
circumstance which, although not very i'm
portant in itself, gave place to the magni-
fcent entrance of the finale, which did not
exist in the first sketch. The air of Leonora,
in the first act, was likewise a new feature, as
well as the sublime exordium, which every
one sdmires SO much at the present day, and,
Of the ancient portion, only the last sentence
remains
20 du, fur den ich allies trug!n
% thou, for whom / all deceiveO
But let us allow the coadjutor of Beetho-
ven to speak of the great composer.
Figaro once remarked that, sin loved
object, all is dear" We all like to listen even
20 the most minute circumstances which
attach themselves to the infancy of a chef
aGU0T6, and the details, whose merit of ex-
actitude one would not wish to question,
since it is the poet himself of Beethoven who
repeats them, will naturally find place here
Beethoven strenuously wished to have an
air in the beginning of the second act for his
character Of 'Florestan.' But obstinately
opposed this caprice of the musician. To
make poor captive, debilitated by long fast
ing and priyations, an unfortunate man diving
Of hunger, sing a cagatinG de brG0urd,
seemed very great difficulty to my mind,
not TO say insurmountable. We disputed the
subject long time. Finally, seeing that he
was unwilling to yield, contrived the means
Of freeing myself from the affair as wisely as
possible, and choose for text to nv words
that kind of prophetic madness which people
who are about to die exhibit-that supreme
light which life throws out at the moment OF
dissolution
What wild and quivering air finds en-
trance here? What divine ray illumines my
tomb? An angel hovers near me in the
vapors of the rose, a consoling angel, with the
features of Leonora; it hastens me on to
liberty, and to the Heavenly Kingdom! =
"What happened on this occasion will
never leave my mind. Beethoven came to
any house in the evening, about o'clock.
After we had conversed for some time on one
subject and another, he inquired for his
song. / gave him my manuscript; he read
il, adjourned into chamber, grumbling in q
hollow voice, as was his custom when about