42 years ago my wife entered into the church for our marriage to the opening processional theme from The Consecration of the House, transcribed for organ.
Since the creation of the world, few things of such radiance and splendor have been invented by any mortal person. I have loved this overture since I was a child, and for thirty years now I have turned to it again and again, finding it an inexhaustible source of pleasure. From the very first note, I am transfixed, and the journey that follows takes me to so many places, so many blissful byways, with the spirit rejoicing with the return of that marvelous theme, that I never want the music to end--and, indeed, I think this overture's glory lies in the very fact that, on some level, it really ultimately doesn't, its perpetual motion and energy carrying forward even past the notional musical endpoint. For, in the coda, after the woodwinds make way for that final frenzied crescendo of the orchestra, we are given something like a vision of perpetual pleasure, as if the music would now spin off with us even to the beyond, where we might be held for eternity entranced by joyous energy. To me, Beethoven here makes a statement that in of itself, without reference to anything else, gives sheer life. I am forever grateful that Beethoven lived and that this overtures exists.
I think Prokofiev's Meeting of the Volga and the Don is an interesting overture that's never head. Also, Tchaikovsky's Festival Overture on the Danish National Anthem is underrated as well. Like this series of videos, thanks for 3 years of fun, good luck on your 4th year Anniversary.
Dave when in college at Boston College I was an usher at symphony hall Boston. I was actually paid to hear the bso! Best years of my life. Anyway I was on duty for steinbergs inaugural concert as music director of the bso. He opened the concert with this overture. It has remained one of my favorites along with the memory of the occasion
This is from the time when the Minnesota Orchestra had a fully-filled string section. After the extended strike I never heard or read of any mention that the orchestra was reduced in size and remains so to this day, relying on ringers when needed. The splendor of Beethoven's best music in whatever form, for whatever ensemble, can make the listener forget he was DEAF !!!
Loved the analysis. As joyous as the piece itself. And, always worth pointing out about LVB (certainly at this time in his life) - a wonderful and monumental composition by a totally deaf guy. Wow.
I've never listened to it. The title sounds like the dullest play imaginable, which doesn't mean the music necessarily would also be dull. BUT you've piqued my curiosity. I'll schedule a listening today!
I also heard an apocryphal story that when Elgar was asked why he had included a bassoon part below the full orchestra when they couldn't possibly be heard, he replied - well they haven't had anything to do for a while and it's only kind to give them the chance to warm up before a difficult passage.
Thank you for a stimulating and enjoyable introduction. Why can we not hear The Consecration of the House in concerts instead of, as I recently saw advertised, Beethoven’s Piano Concerto No. 0 and the first movement of Symphony No. 10?
Actually, in concert it would make a nice and delightfull hors d'oeuvre before THE NINTH! Jochum's version with the Concertgebouw on Philips is so far my absolute favourite - crisply and transparently articulated. The section with the "tripping of the little feet" amazingly well balanced! Skrowaczewski unfortunately is almost impossible to get one's hand on on this side of the Atlantic (almost = me keeping on dreaming! 🙄)
@@Markcava Intersting...I didn't know that. Thank you for the info! A visit to "the Bodleian Library" (i.e. Google, - thank you, "The Rest is History") taught me, that on the programme of the concert was further three movements from Missa Solemnis...quite an ordeal!
I remember a story -- probably apocryphal - that Toscanini believed that his greatest failure as a conductor was never being able to have the bassoons appropriately heard in the Consecration of the House overture.
All I can say is: there is a God! What makes the bassoon writing in this piece so unusual is that not only is it written at breakneck speed but it is played in direct competition with the underlying trumpet fanfare with thundering timpani and string accentuations...and, at one point, the bassoons are playing scales in thirds.
Thanks Dave, you had talked about this overture earlier while discussing the DG Markevitch box. That time I didn't know there was this piece by Beethoven. Since then listening to this piece has become a daily affair for me. Markevitch's performance is a knockout...I'll try out Skrowaczewski's as well now. Still think this piece is criminally underplayed.
This is probably one of the most British pieces that Beethoven ever wrote along with Wellingtons Victory! The introduction sounds like God Save the King/Queen This is a great romantic overture!
What Dave says about range of performances in this piece resonated with me. I first heard it live and it bored the earwax out of me., so much so that I avoided it for years. But the Skrowaczevsky recording moves as excitingly as Baryshnikov.
Wonderful overture by Beethoven. I rather enjoy Sir Neville Marriner and the Academy of St Martin in the Fields spirited and beautifully played version on Philips. Comes with a nice version of the 6th symphony too
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This was the first Beethoven overture I came to love as a young teen.
42 years ago my wife entered into the church for our marriage to the opening processional theme from The Consecration of the House, transcribed for organ.
How lovely!
Since the creation of the world, few things of such radiance and splendor have been invented by any mortal person. I have loved this overture since I was a child, and for thirty years now I have turned to it again and again, finding it an inexhaustible source of pleasure. From the very first note, I am transfixed, and the journey that follows takes me to so many places, so many blissful byways, with the spirit rejoicing with the return of that marvelous theme, that I never want the music to end--and, indeed, I think this overture's glory lies in the very fact that, on some level, it really ultimately doesn't, its perpetual motion and energy carrying forward even past the notional musical endpoint. For, in the coda, after the woodwinds make way for that final frenzied crescendo of the orchestra, we are given something like a vision of perpetual pleasure, as if the music would now spin off with us even to the beyond, where we might be held for eternity entranced by joyous energy. To me, Beethoven here makes a statement that in of itself, without reference to anything else, gives sheer life. I am forever grateful that Beethoven lived and that this overtures exists.
Splendid summation !!! I agree with every point and metaphor you're made.
This Overture. Perfect.
I think Prokofiev's Meeting of the Volga and the Don is an interesting overture that's never head. Also, Tchaikovsky's Festival Overture on the Danish National Anthem is underrated as well. Like this series of videos, thanks for 3 years of fun, good luck on your 4th year Anniversary.
Dave when in college at Boston College I was an usher at symphony hall Boston. I was actually paid to hear the bso! Best years of my life. Anyway I was on duty for steinbergs inaugural concert as music director of the bso. He opened the concert with this overture. It has remained one of my favorites along with the memory of the occasion
This is from the time when the Minnesota Orchestra had a fully-filled string section. After the extended strike I never heard or read of any mention that the orchestra was reduced in size and remains so to this day, relying on ringers when needed. The splendor of Beethoven's best music in whatever form, for whatever ensemble, can make the listener forget he was DEAF !!!
Loved the analysis. As joyous as the piece itself. And, always worth pointing out about LVB (certainly at this time in his life) - a wonderful and monumental composition by a totally deaf guy. Wow.
Yes, the splendor of Beethoven's best music in whatever form, for whatever ensemble, can make the listener forget he was DEAF !!!
I've never listened to it. The title sounds like the dullest play imaginable, which doesn't mean the music necessarily would also be dull. BUT you've piqued my curiosity. I'll schedule a listening today!
This may be my favorite Beethoven overture, Dave. --Matty
It’s a magnificent musical structure.
Not to be confused with P.D.Q. Bach’s Desecration of the House Overture.
Maybe Dave should do a parody of a review for this composer. LOL
I also heard an apocryphal story that when Elgar was asked why he had included a bassoon part below the full orchestra when they couldn't possibly be heard, he replied - well they haven't had anything to do for a while and it's only kind to give them the chance to warm up before a difficult passage.
LOVE IT, DAVE!!!!
Thank you for a stimulating and enjoyable introduction. Why can we not hear The Consecration of the House in concerts instead of, as I recently saw advertised, Beethoven’s Piano Concerto No. 0 and the first movement of Symphony No. 10?
Actually, in concert it would make a nice and delightfull hors d'oeuvre before THE NINTH!
Jochum's version with the Concertgebouw on Philips is so far my absolute favourite - crisply and transparently articulated. The section with the "tripping of the little feet" amazingly well balanced!
Skrowaczewski unfortunately is almost impossible to get one's hand on on this side of the Atlantic (almost = me keeping on dreaming! 🙄)
@@jensguldalrasmussen6446 It was on the program the day the Ninth was premiered.
@@Markcava Intersting...I didn't know that. Thank you for the info!
A visit to "the Bodleian Library" (i.e. Google, - thank you, "The Rest is History") taught me, that on the programme of the concert was further three movements from Missa Solemnis...quite an ordeal!
I remember a story -- probably apocryphal - that Toscanini believed that his greatest failure as a conductor was never being able to have the bassoons appropriately heard in the Consecration of the House overture.
You must have heard him play this piece after he had been working a looooong time on it!
All I can say is: there is a God! What makes the bassoon writing in this piece so unusual is that not only is it written at breakneck speed but it is played in direct competition with the underlying trumpet fanfare with thundering timpani and string accentuations...and, at one point, the bassoons are playing scales in thirds.
I am partial to the Hans Schmidt-Isserstedt recording of this overture.
Thanks Dave, you had talked about this overture earlier while discussing the DG Markevitch box. That time I didn't know there was this piece by Beethoven. Since then listening to this piece has become a daily affair for me. Markevitch's performance is a knockout...I'll try out Skrowaczewski's as well now. Still think this piece is criminally underplayed.
That entire Skrowaczewski 2CD set is terrific.
Brilliant discussion
This is probably one of the most British pieces that Beethoven ever wrote along with Wellingtons Victory! The introduction sounds like God Save the King/Queen This is a great romantic overture!
What Dave says about range of performances in this piece resonated with me. I first heard it live and it bored the earwax out of me., so much so that I avoided it for years. But the Skrowaczevsky recording moves as excitingly as Baryshnikov.
That first part sounds a lot like Handel's Music for the Royal Fireworks overture
Wow, Skrowaczewski’s recording is a knockout! I much prefer it to Markevitch’s slower one.
Maazel rocks
Klemperer competes, favorably.
Wonderful overture by Beethoven. I rather enjoy Sir Neville Marriner and the Academy of St Martin in the Fields spirited and beautifully played version on Philips. Comes with a nice version of the 6th symphony too
Sorry but no, it doesn't. The symphony is a snooze.
Sounds pretty Händelian to me.
Is this piece relatively neglected because it's usually played poorly?
No. I think it's the odd form and just plain laziness.