Beethoven’s Ninth

Beethoven’s Ninth
Royal Albert Hall

In a surprising contrast to last night, it is not I, but the proceedings at the Royal Albert Hall, that are running late. Arrivals from Radio 3 are played some pleasant time fillers until they're ready to take us in.

First up it's Bent Sørensen's Evening Land. Starts with tranquil stings, though they're struggling to get off the ground. It's quite eerie to tell you the truth. Must have been a tumultuous night that Sørensen is describing.

Next up it's Anna Clyne's The Years, and there's absolutely a feel of 'As Time Goes By', as the choral work sets in. "Where does the bloody time go?" is a question I oft ask myself. A bit later, the instrumentation offers up some really sharp twists and - fittingly for tonight - I get a flash of one of my favourite TV programmes, namely Inside No. 9. [Side note: looks like there's a good article about 'The Curse of the Ninth' in my BBC Proms guide - must have a proper read of that when I get chance].

As part of my job, I call hospitals on the telephone on a daily basis. One particular hospital has set a permanent 'all our users are currently busy' message on their main line, and it plays you a nice piece of classical music while you wait. I was hanging on this line one day, about a year or two ago now, and I really liked the music. But I didn't know what it was, and needed to find out. So imagine, if you will, the time when I put my work phone on loud-speaker, and opened up the Sound Hound app on my personal phone, allowing it to take a listen to the weak and distorted tune on the other line. After a few failed attempts it finally caught the hook - it identified the music as Beethoven's Ninth, and such was my introduction to this extraordinary work. [Incidentally, the excerpt I heard on the phone was the opening of the second movement.]

I'd be here all night trying to drag out the right words to describe this 60+ minute symphony, so I'll leave on this final reflection:

During the interval, Anna Clyne is asked why she thinks Beethoven is still THE composer, even after all this time? I can't remember what she said now [I'm sure it was a good answer], but my own opinion on the matter boils down to this simple concept: his work ebbs and flows with almost the same fluidity as mother nature.

Image created with ChatGPT.

Beethoven and Bartók from Budapest

"Beethoven and Bartók from Budapest
Royal Albert Hall

Iván Fischer and the Budapest Festival Orchestra bring Hungary’s greatest opera, Duke Bluebeard’s Castle, to the Royal Albert Hall, heard alongside Beethoven’s ebullient Symphony No. 7"

It's a straight, no-nonsense start to tonight's prom. One piece of music - a Beethoven symphony (namely No. 7 in A major) - starts gently, with a feeling of strolling through a sun-kissed meadow. Flows like any natural water feature would do. Yes, it is very pleasant on the ear from start to finish - Beethoven is a mainstream composer for good reason. It works up to a steady gallop, and finishes with aplomb. Very much looking forward to hearing his 9th, later in the season.

Image: Pixabay.com

Image: Pixabay.com

During the interval I do the dishes (as standard), and during the second half I am preparing my meal plan for next week. I need to do this earlier than normal, because I won't be here at the weekend. I will, of course, be heading down to the Royal Albert Hall for my next installment of in-person promming!

The second half, Duke Bluebeard’s Castle by Béla Bartók, opens with a passage read in Hungarian. We have to imagine the castle and the sort of cold, leaking, tower. At one point there is a light spell of laughter from the audience, but I'm clueless as to what they found amusing. Then the woodwind main body of the music interjects and we're off and running. There's a story to be told, and I try my best to conjure the scenes in my imagination. No doubt it is a good story!

Beethoven and Birtwistle

It's Monday evening. I have got over my Monday working day; always tough but I have found the energy to complete a 5k run after work, watch Coronation St on ITVX ahead of tonight's broadcast, and now I am free to attend an evening at the Royal Albert Hall, via BBC Radio 3, starting 19:30 hours.

Two composers: one I am not at all familiar with, and another one I am much more familiar with - I'll not insult your intelligence by indicating which one is which.

First up is Earth Dances by Harrison Birtwistle. It's a dark, unsettling opening. The presenter explains it's a full orchestra tonight, the sound of which is evident from the very beginning. Just what I like to hear!
The word 'unsettling' is sustained in my mind as the piece progresses. There are some suspenseful moments which would not be out of place in a edge-of-your-seat thriller movie.

I wash the dishes during the interval. Not a huge task tonight. Risking an accusation of inverted snobbery, I start wondering who of my fellow Radio 3 listeners have just enjoyed a beans-on-toast?

Image: AI-generated by Chat GPT

Beethoven's Eroica. Believe it or not, I have actually seen this piece played before. It was at the Liverpool Philharmonic Hall in, I think, the January or February of 2019 (just pre-lockdown, one notes now).

At the last part of the interval I catch in interesting informational nugget from the presenter. He tells us of a connection between Beethoven and Napoleon. Didn't know that! Chat GPT (my modern-day Ask Jeeves) confirms this in 'eroic fashion:

I ask:
"Is there a connection between Beethoven's Eroica and Napoleon?"

ChatGPT said:

Yes — there's a very strong historical connection between Beethoven’s Symphony No. 3, "Eroica", and Napoleon Bonaparte, though it turned sour in dramatic fashion.

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🎼 The Background

• In the early 1800s, Beethoven greatly admired Napoleon.

• He saw him as a symbol of Enlightenment ideals — a leader who rose through merit, not nobility, and someone who might bring liberty and equality to Europe, in the spirit of the French Revolution.

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📝 Original Dedication

• Beethoven initially dedicated his Symphony No. 3 to Napoleon.

• The symphony was even originally titled:

  "Bonaparte"
  (Beethoven's sketchbooks and letters confirm this.)

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💥 The Turning Point

• In 1804, Napoleon declared himself Emperor of the French.

• Beethoven felt betrayed, seeing Napoleon as having abandoned the democratic ideals he once championed.

• According to Beethoven's pupil Ferdinand Ries:

  • When Beethoven heard the news, he tore the title page in anger, shouting:

    “So he is no more than a common mortal! Now he too will tread under foot all the rights of man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!”

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🎻 Final Title

• The symphony was published in 1806 with a new title:

  “Sinfonia Eroica, composta per festeggiare il sovvenire di un grand’uomo”
  (“Heroic Symphony, composed to celebrate the memory of a great man”)

• That “great man” was no longer Napoleon, but possibly an abstract ideal, or even a mourning of lost hope.

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🧠 Why It Matters

• The Eroica is often seen as the beginning of the Romantic era in music.

• It reflects Beethoven’s internal struggles and ideals, not just political ones — a heroic journey through conflict, death (the funeral march), and eventual triumph.

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Now it makes sense! ARL