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Updated: June 9, 2025
It was the original intention to begin the regular evening concert with the third “Fidelio Overture.” Döderlein was of the opinion that it offered no special difficulties: the general rehearsal was to be devoted primarily to the works of the novice. He raised his baton, and silence filled the auditorium. The “Nuremberg Serenade” opened with ensemble playing of the wind instruments.
Nathan Gill and Max linger were expected, and Miss Lavinia Clendenning, completing with Richard a quartette for 'cello, flute, piano, and violin, for which Unger had arranged Beethoven's Overture to "Fidelio." Nathan, of course, arrived first.
There I heard Fidelio, given in rather grotesque fashion by unclean Germans and voiceless Italians, and with recitatives. I consequently managed to evade paying frequent visits to this theatre. When I went to say good- bye to Mr. Howard on leaving London, I was surprised to meet Meyerbeer at his house. He had just arrived in London to conduct his Nordstern.
The latter, who is the victim of Don Pizarro's hatred because he had thwarted some of his evil designs, has been imprisoned by him unknown to the world, and is slowly starving to death. Leonora, his wife, who in some way has discovered that her husband is in the prison, has obtained employment of Rocco, disguised as the young man Fidelio.
The tale is simple enough there is scarcely enough of it to call a tale. Leonora's husband, Florestan, has somehow fallen into the power of his enemy Pizarro, who imprisons him and then says he is dead. Leonora disbelieves this, and, disguising herself as a boy and taking the name of Fidelio, hires herself as an assistant to Rocco, the jailer of the fortress in which Florestan is confined.
I should have thought it worth her while to render herself not unworthy to interpret Fidelio, whatever time and trouble that cost her, rather than to seek notoriety by helping to foist on to the world a fresh combination of engine-whistles and grunts. Non e vero, Peppino? How late you are." Lucia had not determined on this declaration of war without anxious consideration.
They will remember with gratitude the joys they have derived from the effusions of his fruitful intellect; they will call to their recollection the joyous chorus of the prisoners in Fidelio, the sublime and adoring hymn of the "Alleluia" in The Mount of Olives, the matchless pomp of the Sinfonia Eroica, the passionate beauty of the sentiment of Adelaida, the aerial grace of his quartets and waltzes, the thrilling and almost awful pathos of the dirge written for six trombones, but, above all, they will recall to mind the noblest work ever conceived and perfected by composer, one of the greatest achievements of the human mind, the Mass in D. And, bearing these wonders in their memory, their hearts will ache for the doom of Ludwig Von Beethoven.
Within three years, from 1805 to 1808, Beethoven composed some of his greatest works: the oratorio of "The Mount of Olives," the opera of "Fidelio," and the two noble symphonies, "Pastorale" and "Eroica," besides a large number of concertos, sonatas, songs, and other occasional pieces. However gloomy the externals of his life, his creative activities knew no cessation.
"Tristan and Isolda" is one of the world's half-dozen stupendous appeals in music to the emotional side of man's nature; it stands with the "Matthew" Passion, the Choral Symphony, and Mozart's Requiem, rather than with "Don Giovanni," or "Fidelio," or "Tannhäuser;" like the Requiem, the Choral Symphony, the "Matthew" Passion, there are pages of unspeakable beauty in it; but, like them also, its main object is not to please the ear or the eye, but to communicate an overwhelming emotion.
Sleep and solitude are not death; and his vital strength is such, that for a long time to come he will make the round of Europe at certain intervals. Beethoven's "Fidelio" is only just becoming acclimatised in London. I am quite happy that the symphonic poems interest you. When he is ABLE to visit you, he will bring the scores with him.
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