Six Songs, Op. 75, No. 2: Neue Liebe, neues Leben

Hyperion Records

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He smiled, gave her is hand without rising and said: How Bettina Brentano was influences by this encounter is reflected in Thayer-Forbes following report s: Since then he comes to me very day, or I go to him. Isn't the intellectual content of a poem transformed into sensuous feeling by the melody?

Isn't it through melody that one experiences to the full the sensuous quality of Mignon's Song, and doesn't this emotion in turn stimulate one to fresh creation? Goethe is reported as having replied: You have been at great pains to picture for me a great and beautiful nature in its achievement and its strivings, its needs and the superabundance of its gifts. It has given me great pleasure to accept this picture of a truly great spirit.

Without desiring at all to classify it, it yet requires a psychological feat to extract the sum of agreement; but I feel no desire to contradict what I can grasp of your hurried explosion; on the contrary, I should prefer for the present to admit an agreement between my nature and that which is recognizable in these manifold utterances. The ordinary human mind might, perhaps, find contradictions in it; but before that which is uttered by one possessed of such a demon, an ordinary layman must stand in reverence, and it is immaterial whether he speaks from feeling or knowledge, for here the gods are at work strewing seeds for future discernment and we can only wish that they may procees undisturbedly to development.

But before they can become general, the clouds which veil the human mind must be dispersed. Give Beethoven my heartiest greetings and tell him that I would willingly make sacrifices to have his acquaintance, when an exchange of thoughts and feelings would surely be beautifully profitable; mayhap you may be able to persuade him to make a journey to Karlsbad whither I go nearly every year and would have the greatest leisure to listen to him and learn from him.

It would give me great joy if Beethoven were to make me a present of the two songs of mine which he has composed, but neatly and plainly written.

Musical Musings: Beethoven - Six Gesänge, Op

I am very eager to hear them. It is one of my greatest enjoyments, for which I am very grateful, to have the old moods of such a poem as Beethoven very correctly says newly aroused in me. William Kinderman offers us an interesting overview to this matter: Thus it was that this cultured family came into contact with Beethoven at precisely that time when his interest in Goethe's poetry and drama was most intense.

The Brentano family figured very significanly in the literature of German Romanticism.

The acccount she left of her experiences with Beethoven are not free from exaggeration and even occasional deception, but they assume special interest because of their bearing on Beethoven's aesthetic attitudes and ideas. When Beethoven first met Bettina in May , he sang and played for her two of his Goethe songs: Kennst du das Land? Immediately after this encounter Bettina wrote enthusiastically to Goethe about Beethoven. In his reply Goethe suggested that Beethoven meet him in the summer at Karlsbad.

That the two great artists actually did meet two years later, in July , surely owed much to the intiative of Bettina Brentano" [Kinderman: With respect to the publication, let us consult Thayer-Forbes's listing in the chapter to the year Six Songs with Pianoforte Accompaniment, Op. With respect to the publication of Op. I hope that you will have received back the draft of fl.

6 Gesänge, Op.75 (Beethoven, Ludwig van)

Here of new works: A Fantasy for the piano a fantasy for the piano alone[5]. Variations for the piano alone[9]. Concerto for Piano and entire Orchestra[11]. Quartet for 2 Violins, Viola and Violoncello. Since I am aware that I might also be able to, perhaps, send the same works to London,[13] you can dispatch them to any place outside of England, however, the publication, due to the above-noted reason, may not occur before the 1st of September of this year, I do not believe that I am making extreme demands when I am asking for a fee of fl.

Ludwig van Beethoven Briefwechsel Gesamtausgabe, Vol. Bonn, Beethoven-Haus, Bodmer Collection; to [1]: Christian Schreiber a German text that was published, together with the Latin text, in the original edition of Op. Vienna, June 6, ][1]. Leipzig, June 20, A statement in your last letter[1] wounded me too deeply and [appears to me too] undeserved in order for me not to begin [this letter] with a rebuttal, before I move on to replying to the remainder of this letter.

I am certain and convinced that I never knowingly committed any transgression with respect to my dealing with you, particularly with respect to my possibly hurting the most tender feelings of decency or righteousness among men in a [business] relationship of our kind and that could have negated my respect for you or my wish to preserve this relationship. Therefore, your statement is as highly surprising to me as it is inexplicable. It can only be based on a misunderstanding that I, however, am trying to guess in vain, since nowhere in your letter do I find a reason for it.

Therefore, I ask you to let me know the reason of your dissatisfaction, so that I can defend myself. It is impossible that your dissatisfaction stems from the fact that I could not accept your earlier proposal with respect to your works. For me, it would be more fortunate, as well, if circumstances were more fortunate.

6 песен, Opus 75

Hardly do I want to dare to, in reply to your proposal, submit to you my [counter] proposal, since it remains behind yours, as the present remains behind a better, former time. The works which you had the kindness to offer to me were the following: In your earlier letter you had added the condition that these things may not be published before September 1st, since you also want to sell them to London.

The advantage to the German publisher will only lie in a few weeks, months, at the most, which, however, is far less advantageous than the advantage that other publishers will have by offering the works at lower prices. In this way, of Haydn's last quartet[13], as rightful publisher, as I can prove any time, to this date, I have not sold more than approximately copies, while, of cheaper [pirate] editions, perhaps 2 to 3 times as many copies have been sold.

For that reason I am not certain that no German publisher outside of Vienna can and will make you the offer that I want to make you and that you, even if it is not agreeable to you, will still consider as proof that I gladly do what I possibly can in order to preserve our relationship for happier times.

In the event that I should receive all works right away, I would, upon their delivery, immediately pay the full amount of , which could be dispatched by mail to your correspondent by his confirmation of the delivery of the works to him. In the event that the works would be delivered successively, I would also pay the fee in installments, and, upon receipt of the last work, the last Upon receipt of your reply, I shall, if you accept my proposal, request that an agent [in Vienna] that is also to your liking, completely handles this matter with you.

Should I suffer less from pirate prints of these works and should I find that I would be more successful with them as I can foresee at the moment, this would delight me all the more, for your sake, and our next negotiations shall convince you even more how much I like to do whatever I am able to and to thereby prove to you my high esteem of you, as well as to secure your satisfaction.

A friend of mine, a good poet, also a good judge of character, upon my request, is writing the text for an oratorio, of which I can expect much good. It will not be exclusively sacred; however, it would provide the composer with an opportunity to write religiously moving passages. As soon as it will be in my hands, I would, if you wish, convey it to you.

In the event that you want to accept my offer, I would prefer--for a greater correctness of the edition--to receive your original manuscripts. In that event, it would be my pleasure, if ownership of various scores and works from my publishing house would be to your liking, to dispatch to H. Vienna, the 2nd of July, Since you are such a big friend of round sums, I will leave you the noted works for a fee of in gold,[1] whereby I, however, cannot grant any more reductions, since here, through my brother[2], I could have more, heaven may only grant that I would not always have to negotiate so much before I receive anything from you.

Here you receive the first shipment which should be published by September 1st, , and it consists of a Violin Quartet in E-flat[3], of a Fantasy for the Piano[4], 2 Sonatas for the Piano[5], 5 Variations for the Piano[6], 6 Ariettas[7]. The second shipment consists of a Concerto in E-flat[8], the Fantasy with entire Orchestra and Choruses[9]--of 3 Ariettas[10], all of which should be published by November 1, These can be published by the 11th [14th] of February, You will receive these two shipments within 14 days, so that you already can--since I will leave the 2 last shipments with Hr.

Kunz and Company--dispatch payment to here. Egmont is entirely your property. I immediately delivered the works belonging to the first shipment to Kunz and Company so that you will receive them without delay, moreover, due to various circumstances I am convinced that it is not possible that the works noted for the first shipment will be published in London at that time,[15] even less that a copy of them will reach Germany--and also of the others.

However, for the best advantage of your business, it is certainly necessary that they will be published by you on September 1st, that means, the works of the first shipment.

You will find manuscripts and copies[16], as I saw best fit--time is too short to write about everything that still occurs to me, more next time. Farewell and reply soon. Wir haben uns gegen H. With respect to H. Beethoven, we have agreed to substantial fees with the reassurance that those works will not be published there sooner than by us, and, for future considerations, we are very keen on learning from such a reliable man as you are how things occurred with respect to this matter.

Vienna, shortly before July 3, [][2]. With High Esteem, your most devoted. At the same time I ask you for something in writing with respect to the receipt of these musical items. Leipzig, July 11, Your latest letter[1] confirms that the 1st shipment of your new works will be published in London on September 1st, the latest, from which follows that, already by mid-September, they could be in Leipzig or in the hands of other German publishers that pay attention to new publications and that will produce pirate copies.

Nevertheless, and since it will hardly be possible to publish this first shipment here by September 1st, since it is not in my hands, yet, I remain at my offer for all works of [2] with the condition that the first shipment, in the event that it has not been sent off to me, yet, will be dispatched to me with the next post, the 2nd shipment before the end of August, and the third before the end of September.

If I were already assured of your agreement, I would already have sent the to Vienna, today, however, since one can send cash money into Austria, but not get any back out of it,[3] I have to wait for your agreement to my proposal. To agree to a higher fee is something that my circumstances do not allow. Who would not want to grant you, the excellent artist, every advantage that you can draw from your creations, or think badly of you for doing so by selling your works simultaneously in London, Paris, and also in Germany!

I, however [who can not, as a Prince can, value these works by their inner value, but rather by their marketability, since I do not have the advantages of a Princely art patron but rather those of a sensible and righteous businessman] would act irresponsibly if I were to pay for works to have them 4 weeks earlier than all others can have 4 weeks later for a lower price when they have been printed in pirate editions as they are also done by the English and French.

If you consider this important point and the present, sad conditions of the German music trade, you will certainly be far removed from considering my offer a miserly one but rather proof of my respect for you and for my wish to do everything that circumstances allow me in order to keep our relationship alive. And also in future, I will always do so gladly and honestly.

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However, I wish that you would be satisfied with me as Haydn, Zumsteeg[4] and other artists whose works I have published, were, at any time and without exception. Indicate to me the opus number and dedication[2] for the works that you want to send to me, so that the titles can be printed well and in a timely manner. Moreover, I count on those works not being published in London or Paris earlier than indicated and ask you to let me know, with your next letter, if I can count on that.

From the confirmation that the first shipment of my works[2] is supposed to be published by September 1st of this year in London , which, however, is still very doubtful , there does, by no means follow that some copies of them will be on the continent by the middle of the same month. You are also wrong in assuming that I have sent the works to France, as well, in which case you would, rightfully, have reason to believe that your edition would be hindered by that.

However, I assure you that of these works, nothing has been sold to France. You are the sole continental owner of them and it will depend on you to get in touch with a French art dealer and to deposit a copy of these works in the Bibliotheque nationale , after which, according to the law, nobody in the French state is allowed to produce a pirate copy. In order to convince you even more of my keeping your interests in mind and of my preferring you over others, I want to convey some ideas of a big speculation that I want to embark on, in the near future,--For I am inclined to have published an edition of all of my works that is authenticated by me, and if we will come to an agreement with respect to this, to have it published by your main company.

I already declined some proposals that have been made to me by several parties, since I have always been satisfied with you and since I also hope to be so in the mentioned case. In order for this edition to be general and of greater use, in my opinion, it would be very good if you were to undertake this project with the cooperation of a local [Viennese] company and with a Paris company.

Kidnapped when very young, she is rescued from her harsh life in an acrobatic troupe by the title character Wilhelm Meister and falls in love with him. Beethoven had a long history of engagement with this poem: The energy of new passion bubbles throughout this music, in which exultation is at war with the desire to break away from such bonds. Beethoven too knew the clash between the longing for intimacy and the demands of artistic creativity.

That the persona charges right into the proceedings without any piano introduction is youthful erotic impetuosity incarnate. Those who know the first theme of the first movement of his Symphony no. Gretels Warnung is a strophic song set to a poem by Gustav Adolph von Halem This little song belongs to a sub-category of 18th- and 19th-century poetry in which a young woman, seduced and abandoned, warns the reader against incurring—or causing—a similar fate. Distant beloveds were a sad obsession of the composer; the repetitions in this tiny strophic song convey something essential about the nature of grief, whose sufferers traverse sad ground over and over.

As if to console both the persona of An den fernen Geliebten and us, the same poet-composer pair defines contentment in the last song, Der Zufriedene. In , a building was constructed on the site, but the old ruins are still visible. The charming duet is a light and colorful ode to the picturesque ruin Merkenstein.

Sonata for Violin and Piano no. The work opens with an expectant main theme wrought with tension that seems to be bracing itself for an outburst. The Adagio cantabile offers sweet repose with its hymn-like melody presented first by the piano and reiterated by the violin. In the central section of the movement, a slightly agitated character prevails via harmonically unsettled arpeggios in the piano while the violin floats above.

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The flirtatious Scherzo that follows, as Raymond Erickson writes, is somewhat puzzling. This nervous energy erupts in a furious Presto that brings the movement to fiery conclusion. I have written a number of pieces that follow some sort of ground bass principal. The pattern is shorter than its native habitat. Through a similar process of re-harmonization the piece gradually widens its focus.

A rabbi and mystic in Babylon, Amemar studied the theological meaning of dreams. His prayer asks God for dreams of Israel that are true and enduring visions: Piano Trio in Eb Major, Op.

However, this trio offers an entirely fresh and hitherto unheard sound world.

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