“Mir ist so wunderbar”: Considering Opera Traditions Interaction in “Fidelio” by Beethoven (Modern Musicologists on the Quartet’s Genesis)
DOI:
https://doi.org/10.21638/spbu15.2022.110Abstract
The canon in the first act of “Fidelio” was generally regarded as one of the best moments in the opera from the very beginning of its hard scenic life. While 19th century critics admired the quartet, scholars in the 20th century showed true scientific interest in this ensemble. This attention made Beethoven’s quartet one of the most famous canons in music. The article represents an attempt to summarize modern musicology’s views on the first act quartet of Beethoven’s “Fidelio”. On this basis in the paper are considered the reasons for including such composition in “Fidelio”, its stylistic background, and in general the origins of Viennese late 18th century’s practice of vocal and opera canons as the context for analysis of Beethoven’s quartet. The author lists operas of the Viennese repertoire 1780–1800 with canons (among them, operas by Martíny Soler, Salieri, Mozart, Paёr, and Cherubini) as hypothetical models for Beethoven and also traces the continuation of this tradition in Italian and Russian 19th century opera. Connection of the musical form of canon with ideas of the Enlightenment and figurative and meaningful interpretation of its pastoral tone is considered on the basis of works by Heinrich Schwab, Dorothea Link, and Larisa Kirillina. It is remarkable that the pastoral of the quartet allows a Christian interpretation that makes the “Benedictus” of “Fidelio” genuine. “Mir ist so wunderbar” is considered as an example of Beethoven’s contemplative lyric on the basis of experience of its philosophical-aesthetic comprehension, presented in Russian musicology. In the quartet, Leonore appears in the opera for the first time, and so this article accentuates the central role of this canon for understanding the main figure with all richness of her literary and mythological genealogy.
Keywords:
opera, Beethoven, “Fidelio”, canon, Vienna, operatic ensemble, Rossini, la solita forma, pezzo concertato, pastoral
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References
Литература
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Нотные издания и источники
I. Beethoven, Ludwig, van. Leonore: Oper in Zwei Aufzügen. Klavierauszug. Leipzig: Breitkopf und Härtel, 1910.
II. Beethoven, Ludwig, van. “Ludwig van Beethoven, Fidelio, op. 72, 2. Fassung 1806, Quartett ‘Mir ist so wunderbar’, Klavierauszug, Cappi, 1280”. BTHVN. Accessed August 21, 2021. https://www.beethoven.de/en/media/view/5310486971154432/Ludwig+van+Beethoven%2C+Fidelio+op.+72%2C+2.+Fassung+1806%2C+Quartett+%22Mir+ist+so+wunderbar%22%2C+Klavierauszug%2C+Cappi%2C+1280?q=Mir%20ist%20so%20wunderbar.
III. Philidor, François Danican. Tom Jones: comedie lyrique en trois actes. Paris: M. de la Chevardiere, 1766.
IV. “Trauten Freunde, last uns trinken, last uns froh und fröhlich seyn! (Gesellschaftslied. 4stimmiger Canon)”, Allgemeine musicalische Zeitung, December 2, 1807.
V. Cherubini, Luigi. Faniska: eine grosse Oper in drey Akten. Klavierauszug. Leipzig: A. Kühnel, 1806.
VI. Martín y Soler, Vicente. L’arbore di Diana (Der Baum der Diana): eine comische Oper in 2 Acten. Klavierauszug. Bonn: N. Simrock, 1793.
VII. Логунова, Анастасия. “Müller, Reto. Una domanda: электронное письмо”, Личный архив, август 15, 2021.
References
1. Lühning, Helga, und Wolfram Steinbeck, Hrsg. Von der “Leonore” zum “Fidelio”: Vorträge und Referate des Bonner Symposions 1997. Frankfurt/M.; Berlin; Bern; Bruxelles; New York; Oxford; Wien: Peter Lang, 2000. (Bonner Schriften zur Musikwissenschaft, 4).
2. Henze-Döhring, Sabine. “FranzösischI — ItalienischI — Deutsch: Zur Gattungsproblematik des Fidelio”. In Von der “Leonore” zum “Fidelio”: Vorträge und Referate des Bonner Symposions 1997, Hrsg. von Helga Lühning, Wolfram Steinbeck, 121–33. Frankfurt/M.; Berlin; Bern; Bruxelles; New York; Oxford; Wien: Peter Lang, 2000. (Bonner Schriften zur Musikwissenschaft, 4).
3. Schwab, Heinrich W. ““Mir ist so wunderbar”. Zum Kanon auf der Opernbühne”. In Von der “Leonore” zum “Fidelio”: Vorträge und Referate des Bonner Symposions 1997, Hrsg. von Helga Lühning, Wolfram Steinbeck, 235–48. Frankfurt/M.; Berlin; Bern; Bruxelles; New York; Oxford; Wien: Peter Lang, 2000. (Bonner Schriften zur Musikwissenschaft, 4).
4. The Critical Reception of Beethoven’s Compositions: By His German Contemporaries. General ed. and comp. by Wayne M. Senner, transl. and musicological ed. by Robin Wallace, musicological ed. by William Meredith. 2 vols. Lincoln: University of Nebraska Press, 2001, vol. 2. (North American Beethoven Studies).
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6. Zeitung für die elegante Welt, May 10, 1806. Accessed August 9, 2021. https://digipress.digitalesammlungen.de/view/bsb10532402_00361_u001/1.
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10. Kirillina, Larisa. Beethoven. Life and Creative Work. 2 vols. Moscow: NITs “Moskovskaia konservatoriia” Publ., 2009, vol. 2. (In Russian)
11. Link, Dorothea. “‘È la fede degli amanti’ and the Viennese operatic canon”. In Mozart studies, ed. by Simon P. Keefe: 109–36. Cambridge: Cambridge University Press, 2006.
12. Kirsch, Winfried. “Zur musikalischen Konzeption und dramaturgischen Stellung des Opernquartetts im 18. und 19. Jahrhundert”. Die Musikforschung 27. Jahrg., H. 2 (1974): 186–99.
13. Russo, Paolo. “Largo al concertato! Alle origini del ‘quadro di stupore’”. Il Saggiatore musicale 15, no. 1 (2008): 33–66.
14. Rice, John A. Empress Marie Therese and Music at the Viennese Court, 1792–1807. Cambridge: Cambridge University Press, 2003.
15. Wessely, Othmar. “Martin y Soler”. In Die Musik in Geschichte und Gegenwart, hrsg. von Friedrich Blume. Bd. 8: 1710. Kassel et al.: Bärenreiter, 1960.
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22. Allgemeine musicalische Zeitung, May 9, 1804.
23. Gerhard, Anselm. “Konventionen der musikalischen Gestaltung”. Verdi Handbuch, Hrsg. von Anselm Gerhardt und Uwe Schweikert: 165–82. 2. Auflage. Stuttgart; Weimar: Metzler; Bärenreiter, 2013.
24. Viviani, Giada Roberta. “Esotismo nordico. Studio storico-critico e filologico della Faniska di Luigi Cherubini”. Tesi di dottorato di ricerca in Storia delle Arti, Università Ca’Foscari Venezia, 2016.
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33. Greenwald, Helen. “Zelmire / Zelmira. Belloy, Tottola, Rossini, and the ‘différents genres de tragedies’”. In D’une scène à l’autre. L’opéra itelien en Europe, sous la direction de Damien Colas et Alessandro Di Profio, 239–53. Wavre: Mardaga, 2009, vol. 2: La musique à l’épreuve du théâtre.
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36. Kirillina, Larisa. Classical Style in Music of the XVIII — Early XIX Centuries. 3 parts. Moscow: Kompozitor Publ., 2010, pt 3: Poetika i stilistika. (In Russian)
37. Strayer, Gene Paul. “The Theology of Beethoven’s Masses”. DA diss., University of Pennsylvania, 1991.
38. Solomon, Maynard. Beethoven. 2nd rev. ed. New York: Schirmer Trade Books, 2001.
39. Rumph, Stephen. Beethoven After Napoleon: Political Romanticism in the Late Works. Berkeley; Los Angeles; London: University of California Press, 2004. (California Studies in 19th-Century Music).
40. Kinderman, William. Beethoven. 2nd ed. New York: Oxford University Press, 2009.
41. Sonneck, Oscar, ed. Beethoven: Impressions by his Contemporaries. New York: Dover, 1967.
42. Klimentova, Liubov’. “Phenomenon of Contemplative Lyrics in Beethoven’s Works as Musical Realization of Implicit Transcendental Knowledge”. Filosofiia i gumanitarnye nauki v informatsionnom obshchestve, no. 2 (2015): 65–76. Accessed January 18, 2021. http://fikio.ru/?p=1723. (In Russian)
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Music Editions and Sources
I. Beethoven, Ludwig, van. Leonore: Oper in Zwei Aufzügen. Klavierauszug. Leipzig: Breitkopf und Härtel, 1910.
II. Beethoven, Ludwig, van. “Ludwig van Beethoven, Fidelio, op. 72, 2. Fassung 1806, Quartett ‘Mir ist so wunderbar’, Klavierauszug, Cappi, 1280”. BTHVN. Accessed August 21, 2021. https://www.beethoven.de/en/media/view/5310486971154432/Ludwig+van+Beethoven%2C+Fidelio+op.+72%2C+2.+Fassung+1806%2C+Quartett+%22Mir+ist+so+wunderbar%22%2C+Klavierauszug%2C+Cappi%2C+1280?q=Mir%20ist%20so%20wunderbar.
III. Philidor, François Danican. Tom Jones: comedie lyrique en trois actes. Paris: M. de la Chevardiere, 1766.
IV. “Trauten Freunde, last uns trinken, last uns froh und fröhlich seyn! (Gesellschaftslied. 4stimmiger Canon)”, Allgemeine musicalische Zeitung, December 2, 1807.
V. Cherubini, Luigi. Faniska: eine grosse Oper in drey Akten. Klavierauszug. Leipzig: A. Kühnel, 1806.
VI. Martín y Soler, Vicente. L’arbore di Diana (Der Baum der Diana): eine comische Oper in 2 Acten. Klavierauszug. Bonn: N. Simrock, 1793.
VII. Logunova, Anastasia. “Müller, Reto. Una domanda: e-mail”, Personal Archive, August 15, 2021.
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Published
2022-04-05
How to Cite
Logunova, A. A. (2022). “Mir ist so wunderbar”: Considering Opera Traditions Interaction in “Fidelio” by Beethoven (Modern Musicologists on the Quartet’s Genesis). Vestnik of Saint Petersburg University. Arts, 12(1), 205–223. https://doi.org/10.21638/spbu15.2022.110
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