MUSIC OF BEETHOVEN.
A LECTURE WITH GENEROUS EXAMPLES.
The second course of the season iu the appreciation of music was opened by the W.E.A. lecturer, Mr Edwin Dennis, A.R.C.M., in the De Luxe Concert Hall, Levin, on Monday evening, before a good attendance.
The theme of the course concerns composers, and it is the tutor’s intention to-deal both with the giants of the past and modern writers of music. The opening lecture was cm Beethoven, whose history was briefly sketched in one of last season's lectures. Ludwig van Beethoven was born at Bonn, on the Rhine, in December, 1770, and died at Vienna in March, 182/. Last year his centenary was celebrated throughout the musical world. The lecturer stated that Beethoven iu his youth did not. show the precocious ability of Mozart; nevertheless at the age of seven he first performed in public. In his young days he had much , trouble. His father was addicted to drink and his mother suffered from consumption; and at an early age'Beethoven had the responsibility of the family on his shoulders, his mother having died when he was 17. Fortunately lie was well received by royalty; and had it not been for the help of some influential people, the world might never have seen most of his works. Beethoven was a man of great bodily strength, vast strength of character, and much self-esteem, which showed itself at times in obstinacy. Although careless of the feelings of others, he was easily offended himself; but if he was quick in his anger, he was just as quick to feel, sorry for what he had done. Another trait of his character wa» that he was always in love. He had made several proposals of marriage before meeting Countess Therese of Brunswick, the woman to whom, it was believed, he had referred when using the phrase, “my immortal beloved." Several letters thus addressed were found after he died, but there was nothing in the letters themselves to show to whom they were written. Only one opera by Beethoven was ever really produced; this being “Fidelio"; but it was not true to say that he had not attempted any others. At the age of 28 he began to be attacked by deafness. He was very conscious of the fact, and tried to fight against it, using various types of ear trumpets. Eventually he admitted that, he had to resign himself to his affliction, ine lattef part of his life was wrapped in tragedy, and he died just after shaking his fist in the air, during a terrific thunderstorm. His character, generally speaking, was very lovable, because he was always sincere and always honest. The fighting be tween musicians was a trait that had existed before Beethoven’s time and was carried on to the present day. A number of records of the great composer’s creations were played on the gramaphonq. Commenting on the Fifth Symphony, of which the latter portion of the adagio, the allegro scherzo movement and the finale were played, Mr Dennis said that this symphony was possibly the greatest of all, and it possibly represented the time when ,he left the paths of hie formal education. Although this was considered his greatest work, , Beethoven, when asked his own opinion, said he liked the “Eroica" Symphony (No. 3) the best of all his compositions. A record was played of the ‘ ‘ Choral ’' Symphony (the ninth), Avitk orchestra and voices. In this connection, the lecturer stated that the authorities iii England had offered Beethoven £sorif he would compose a work in a certain time. He failed to dp it in the period specified, but on completing the symphony he dedicated it to a German royalty. Later he sent the work to England and it was accepted, and he then dedicated the copy that he sent to' that country to the London Philharmonic Society. The next record was the “Emperor" Concerto, written during the Napoleonic Avars. As far as could be ascertained, Beethoven had not called it the “Emperor.’ 1 Names Avere sometimes gratuitously attached to Avorlcs of the great masters by people Avho liyed after them, as in the case of the so-called “Moonlight" Sonata. The name of the Concerto, Avhieh Avas written for piano and orchestra, had evidently been suggested by its ample proportions. In the recorded playing of it the pianist was Backhaus, a famous musician who visited' New Zealand in 1926., By way of contrast, Mr Dennis put, on the Violin Concerto. (Op. 61), played by Kreisler. This, the lecturer said, Avas the greatest of all violin concertos; yet it was composed in a hurry. A piece of another different style Avhieh Avas reproduced was the Concerto in C major (Op. 59, No. 3), played by the Virtuoso String Quartette,.
Mr Dennis sang “Adelaide," which, he stated, was one of the feAv songs of Beethoven’s that w T ere in repertoire today. He explained that it. Avas quite different from the modern type of song, for. whereas the existing composers were inclined to make dainty songs covering about three pages of music, this song ran to about tweh’e pages. “Adelaide" Avas one of the set pieces for the tenors at the Auckland competitions when Mr Dennis Avas an entrant some 17 or 18 years ago. The interpretation given was an artistic one throughout, and the accompaniment was nicely played by Mrs Wallace.
A record of the “ Pathetique" Symphony brought the OA r ening’s instruction and entertainment to a close. The gramophone and records used by the lecturer were lent by His Master's Voiee Company, for Avhieh Mr K. Aitken is the local agent.
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Shannon News, 24 July 1928, Page 4
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936MUSIC OF BEETHOVEN. Shannon News, 24 July 1928, Page 4
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