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Número 276 - Zaragoza - Diciembre 2023|
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FORO
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| 10ª Sinfonía de Beethoven. |
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Hola, amigos: Me ha llegado información que me ha sorprendido: la Décima de Beethoven. Os adjunto y texto - al que tan solo le he dado un vistazo por encima- que he encontrado (desconozco el autor) que habla de ello, en inglés, como suele ser habitual. Si alguien tiene información sobre el asunto, le agradecería una explicación, ya que se me ha despertado la curiosidad. Esperemos que no sea una "broma musical". Muchas gracias. Rex. "Indeed, I do believe this is a worthy completion of Beethoven’s projected tenth symphony. As a musician myself, who has become familiarized with Beethoven’s music thoroughly, I would say without hesitation that this is a believable "reconstruction," faithful not only to the master’s sound, but also - if it were to be a truly musicological effort - to his form, and context of the sound of other works of this late stage of Beethoven’s life. The opening "cantabile" in E-flat (itself faithfully based on an extensive sketch left after the master’s death) is particularly "Beethovenian" as are the grand string octaves that resound before it. The whole thing, really, is a great effort, and while doubtless Beethoven himself would’ve been more imaginative in execution in many parts, this effort is an excellent one. Beethoven’s sketches of the Tenth Symphony are incomplete but numerous - more than often revealing very beautiful melodies, and inviting to any competent musicologist to attempt a reconstruction composition. We know that the Tenth Symphony was to exist because Beethoven frequently mentioned it, along with the Ninth, as planned and in the works - he even began work on it before the glorious Ninth was complete (initially the Ninth was to be purely instrumental - the original fourth movement of the Ninth scrapped and instead used as a movement in String Quartet Op. 132 - and the Tenth to include a chorus, while Schiller’s "Ode to Joy" was initially concieved as a separate cantata... not to be included as part of a mainly instrumental work). This overlap of work was also the case with the fifth and sixth symphonies. It is not impossible or ridiculous therefore, as other reviewers might believe, that a greater symphony was to follow the Ninth. This recording, as well as Beethoven’s and his colleagues’ own testimonies, are evidence to the contrary. It is interesting to note that a friend of Beethoven even heard the master play the piano reduction of the Tenth Symphony IN ITS ENTIRETY, explaning the developments as they came along. Is it really ridiculous to think that anything greater were to follow his Ninth? His Missa Solemnis? His Fidelio? Not at all. Keep in mind that just as numerous sketches for the Tenth exist - so do accounts of Beethoven’s attempts at other operas, and even a Requiem. Beethoven was constant in the development of his art, and it is more ridiculous to think of the Ninth as his "ars summa" as the other reviewers might hold. It is an infinitely valuable learning tool, above all, teaching us much about Beethoven’s manner of composition and how he develeoped his almost countless existing fragments - mere scraps of music - into monuments of sound. This isn’t Beethoven speaking to us from the grave - but it is a convincing effort worthy of more performances." |
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Amigo Rex: De la 10ª Sinfonía de Beethoven se conservan varios sketches correspondientes al primer movimiento (Andante-Allegro-Andante). Tengo una grabación de este primer movimiento completo, de veinte minutos de duración, completado por el Dr. Barry Cooper. Concretamente está interpretado por la London Symphony Orchestra dirigida por Wyn Morris en 1988. Es un extraño CD sin referencia comercial y editado también en 1988. Se completa con una grabación de una conferencia impartida por el Dr. Cooper de casi media hora de duración, su tema es lógicamente la 10ª. Si estás interesado podría enviarte una copia. Un abrazo, paradox. |
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Muchas gracias `por el ofrecimiento, pero ya he encontrado un enlace en la red precisamente del primer movimiento, aunque no se indica datos del director. Lo más probable es que se trate del Cd que indicas. Un abrazo. Rex. PD. Aprovecho para decir que si alguien está interesdado en el enlace, no tiene más que pedírmelo y se lo enviaré a sus mail. |
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Hola Rex, Pues sí, me interesaría el enlace fmorenov@ambtu.bcn.es Gracias |
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| Ya lo tienes en camino. |
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| Hola. Creo que lo encontré en una ocasión en el Soulseek (similar al emule), pero sin datos de la orquesta o director. Creo que duraba algo más de 20 minutos, la verdad es que me decepcionó un poco en relación con la Novena. Leí además que esa reconstruccioón tiene bastante de añadido, o eso dicen, y que no es tampoco muy fiel a lo que podría haber sido el original. En cualquier caso, es una curiosidad que bien merece ser difundida. Un saludo. |
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Efectivamente. Como ya se ha indicado, el disco se compone de dos partes: el primer movimiento, interpretado por la LSO dirigida por Barry Cooper, y una "lecture", de otros 20 min. por la misma persona, que es quien ha reconstruido el movimiento. Esta es la explicación: WORLD PREMIERE LUDWIG VAN BEETHOVEN (1770-1827) : SYMPHONY NO. 10 IN E FLAT ? First movement, realized and completed by Dr. Barry Cooper Ever since 1844, when Beethoven?s one-time secretary Anton Schindler published an article claim¬ing that Beethoven had made sketches for an un¬finished Tenth Symphony, the subject has attracted widespread interest and speculation. Since that date, additional clues about the supposed symphony have emerged from time to time, but many of them only added to the mystery and speculation, almost like a real-life detective story: Schindler was found to have been an extremely unreliable witness; Karl Holz, another man who had acted as Beethoven?s secre¬tary, claimed to have heard the first movement of the symphony played by Beethoven on the piano, yet in another report he is said to have stated that the whole symphony was sketched; a letter from Bee¬thoven himself was discovered, written by Schindler but signed by Beethoven only eight days before his death, referring to sketches for a new symphony; meanwhile Gustav Nottebohm, a leading Beethoven scholar of the late 19th century, examined the sketches that Schindler had claimed were for the Tenth Symphony and dismissed them as mere passing thoughts, of no more significance than dozens of other such ?symphonies? whose openings had been jotted down by Beethoven at various stages of his life. Compounding the mystery was the impenetrable nature of Beethoven?s sketches in general ? mostly single-line drafts without clef or key signature, carelessly notated in bad handwriting that was widely regarded as indecipherable, and even if deciphered, difficult to interpret. Their large number added to the problem. Altogether about 8,000 pages or more survive, now scattered in dozens of different loca¬tions, and many of them contain sketches for more than one work. In fact, until the 1960s, very few scholars apart from Nottebohm had studied Beetho¬ven?s sketches first-hand, most being content to rely on the relatively small proportion of sketch material that Nottebohm had transcribed. From the early 1960s, however, investigation of Beethoven?s sketches became much more system¬atic, and before long all of them had been examined at least cursorily and dated approximately. But there was still no further sign of the elusive symphony, and in an important article published in 1977 (?Noch einmal: Wo sind Beethoven?s Skizzen zur Zehnten Symphonie?,? Beethoven-Jahrbuch, ix.531-552) Robert Winter showed that there were no major gaps to be accounted for in Beethoven?s creative activity in the period after the Ninth Symphony. It followed, then, that there could be no large missing sketchbook from that period, that might contain the symphony and which might one day turn up. Was Beethoven?s reference to sketches in his desk therefore mere wishful thinking or even plain deception? The answer came at last in two articles published within a few months of each other: Sieghard Brandenburg, ?Die Skizzen zur Neunten Symphonie,? Zu Beethoven 2, ed. Harry Goldschmidt (Berlin, 1984) pp. 88-129; and Barry Cooper, ?Newly Identified Sketches for Bee¬thoven?s Tenth Symphony,? Music & Letters, 66 (1985), pp. 9-18. The former referred to three groups of sketches for the Tenth Symphony dating from 1822 to 1824; the latter article identified a group of Tenth Symphony sketches from 1825. In neither case had the author been specifically searching for the Tenth Symphony. Sieghard Brandenburg evidently made his discoveries during the course of research on the Ninth Symphony; my own identifications were made during work on a book on Beethoven?s sketches (Beethoven and the Creative Process, Oxford Univer¬sity Press, forthcoming). My work on this book involved studying numerous sketches for other Beethoven works and as a result, I obtained considerable insights into his normal work¬ing methods. With the aid of this background work I was able to make sense of the sketches for the Tenth Symphony and eventually produce a complete move-ment, based on realizing these sketches in the same way as Beethoven normally realized others, and filling in the missing passages with music based on the same thematic material. Details of how the complete movement was gradually put together from the very fragmentary sketches are given in the lecture in the accompanying recording. Further details can also be found in my article ?The First Movement of Beetho¬ven?s Tenth Symphony: A Realization?, The Beethoven Newsletter, 3/2 (1988), pp. 25-31, and in the orches¬tral score which is available on hire from Universal Edition (London). The piece itself is, of course, not a new Beethoven symphony as such, but a kind of ?artist?s impression? of the First Movement. It is probably fairly close to what he had in mind, and is certainly far closer to the elusive Tenth Symphony than anything previously heard. The sketch sources used are as follows: Bonn, Beethoven-Archiv, SBH 645 (= Mh 86), f. I (1812). Berlin, Staatsbibliothek Preussischer Kulturbesitz, Musikabteilung, Artaria 201, pp. 124-5 (1822). Bonn, Beethoven-Archiv, SBH 673 (= BSk 20), ff. Ir, 2v (1822). Vienna, Gesellschaft der Musikfreunde, A50, p. 12 (1824). Berlin, Staatsbibliothek Preussischer Kulturbesitz, Musikabteilung, aut. 9/1, ff. Iv-5r (1825). I should like to thank the staff of each of the three archives concerned, for kindly allowing me access to the Beethoven manuscripts in their possession. Dr. Barry Cooper La estoy escuchando ahora mismo. Suena, sin duda a Beethoven. La pena es que sólo se trate de un movimiento. Rex. |