Did I find the inspiration for Beethoven's Opus 109?

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Art Zegelaar

Founder of de Muziek Experience

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4 februari 2023

While practising the Variations of Piano Sonate Opus 109 in E. The theme resonated deep in my soul and it kept reminding me of a Choir composition I had just the month before played with several Choirs. Could it be? So I started searching but found nothing. Making enquiries at a good friend of mine, Alberto Portugheis, Vice President of the Beethoven Society of Europe, gave as a result that it was not known where the Air of the variations came from and Beethoven had composed it himself. The first movement of the Sonata was added to it at a later date.

But I soon started recognising many quotations from a composition of Silesian origin and a German kapelmeister had added some orchestral accompaniment. Joseph Schnabel lived from 1767-1831 and was a contemporary musician with Beethoven. Transeamus usque Bethlehem is performed played around Christmas and it is very well possible that Beethoven had heard it and was inspired by it.

Only the theme to go by was a bit meagre, hence I started looking for more quotations and the emotions connected to them. I was not disappointed.

But let us start with the theme, which prompted my quest.

Transeamus usque Bethlehem

Beethoven's theme of the Air reads:

Beethoven's Air theme from Opus 109

Beethoven gives the initial theme three times, the second time moving to the upper-dominant. The Transeamus theme is the same, moving to the dominant and then descending to the 7th of this dominant. Also Beethoven did this. Then there is a descent in thirds, but Beethoven moves to the dominant and Transeamus returns to the Tonic, hence the descent in thirds is a bit longer there..

Hmm... For me this seems very obvious. But I could not imagine that nobody has ever noticed. Or perhaps the Beethoven police was hard at work? Beethoven was a son of the Enlightenment and would not as would Bach be influenced by a Church composition. Wouldn't he?

I needed more.

Initially, probably, the Air was ment to be a second movement, with the Prestissimo being the first. So no wonder we find a reference to the theme in the middle of Transeamus. I would have to look at the Prestissimo movement to look for some more clues. I now was looking for the possibility of Opus 109 being influenced by Transeamus. Because if that was a plausible possibility, then it would automatically result in the conclusion that the Air of Opus 109 was inspired by Transeamus.

I did not expect to find anything remotely useful, but to the contrary I was overwhelmed by what I found.

Transeamus, Opening

Transeamus offers a boisterous statement of ascending notes of the Tonic chord of G major, whereas Beethoven does this the key of E minor.

Prestissimo Opus 109 Opening

Then Transeamus descends to the sub-dominant and closes in the Tonic. Beethoven keeps ascending, but also by switching to the subdominant and ending in the Tonic chord. Both final cadenz sequences are very similar.

With Beethoven, this opening is a single statement in fortissimo. He proceeds after this with a lyrical piano response to this statement. Also Transeamus is a statement. A statement about going somewhere.

But also consider this:

small adaptation of the Transeamus theme

A small adaptation of the Transeamus theme uncovers more similarity.

Ok. For a start that is not disappointing. Is there more?

left Transeamus right Beethoven

In the response Beethoven reworks what the reason is for his bold opening. Is he going somewhere? In Transeamus the cause is given too. usque Bethlehem. The material found also in de accompaniment of Transeamus is a striking similarity.

Let us look what the excitement in Transeamus is about:

In Transeamus they are going so see how the Logos became a human born baby. But Beethoven is equally excited about the purpose of his Statement.

bars 61 62 in Beethoven

Not convinced yet? Let's see how these expressions of excitement end in both.

Beethoven bars 72-79

Beethoven extends the repeated notes over a multitude of bars, he does so much more with whatever material. But both end in the same way. Transemus in a return to the Tonic of G major, but Beethoven to the dominant Key of B and then he repeats it in bar 76-79 in Tonic key of E minor. But Beethoven reworks it in marvelous extended counterpoint.

It looks like all the material used in the Prestissimo has striking similarities with the material found in Transeamus. The material in the middle of Transeamus 'Mariam et Joseph et infantum positum in preasipio' is found in the Air used for the variations.

Leaves still one bit of material in the Transeamus unused. The 'Gloria'!

left Transeamus right Beethoven Final Variation 6.

Beethoven alludes to it in the final variation. Number VI. But he extends it there in a never ending set of trills in left and right hand as final homage to his creator. What does this all mean? That in Beethoven the ultimate enlightenment en human achievement Transcends into a homage to the born logos?

For me it seems obvious that Beethoven was influenced by Transeamus, and he had already written two movements for it the Prestissimo as first movement and the Air as second movement. Later he decided to use another movement as movement, go overboard with the 'obligatory' second movement as air, boldly putting the Prestissimo there. Hence the Air became the final movement of a new Sonata. Perhaps he added the second variation to make a reference to the newly added first movement. And ended with the spectacularly spiritual last variation.

Art Zegelaar (c) 2023 The Music Experience. All rights reserved.

Reviving Beethoven cycle 

I recently decided to revive my desire to go through all Beethoven Sonata's and study the progress Beethoven made in his own composition techniques and look at the question, which since long occupies my mind. Composers do certain things in certain keys and of course surely in Beethoven's case this is only logical. He was a very good improviser and although Beethoven crafted his compositions like an architect, still improvisation will have been an important basis. 

For this reason I decided to go through the Beethoven Sonata's according to their keys from C minor till B major. Of course this puts the key of Bb near the end, and who understands my relief may comment on it. 

So we start with the first Sonata in Cm. 

Sonata no. 5 opus 10 no. 1 in Cm

Movement 1: Allegro molto e con brio

The first movement is in Sonata Form. Probably for the young Beethoven still no question about that. But where the first 4 Sonatas are 'grande' Sonatas this is the first sonata where Beethoven aims for shorter. Not only top pianists should be able to play his compositions he may have thought. 

The first theme consists of rising broken chords in forte with quiet chord progressions in between. But the effect is a powerful symphonic opening in 22 bars with 8 bars coda. 

The first Theme in Cm

The opening chord of Cm just happens with all C-minor Sonatas as we shall later see, but it is not standing on its own. It is itself part of the theme of rising notes. I display them here in its bare essential meaning. There are semiquaver upbeats to each note. 

The second Theme in Eb

The second theme already starts in bar 32 with an interesting break of one bar before. It must be in contrast. And ofcourse it is. Since it is the relative major, there is no real modulation towards it. It just starts in Eb one bar after the first theme ended in Cm. It is not fierce but a cantabile melody with a quietly stepwise progressing harmony. 

Note also the gorgeously delicate staccato rising scales in bar 64 and 68. 

The coda (bar 86) of the exposition reminds of the first theme. Broken chords again in the rhytmic patterns of the first theme. And surely ending in Eb. Amazingly simple and yet the whole exposition is very symphonic, as with all Beethoven Sonatas. 

Without any warning the development section starts in C-major. The other relative of C-minor. It mixes ideas from both themes, without presenting real new material. I am in love with the ending of the development section, with the long dominant bass organpoint:

In the reprise nothing really happens, which is not pure Sonata Form, which is why I like to give this Sonata as a first to students, because it is so very wel suited to explain and understand Sonata Form.

Movement 2: Adagio Molto

In a classical sonata the second movement is a variation model on an Aria (song) theme. It is in Ab here. We will see that many techniques Beethoven does here, also happen in the next Sonata in Cm (the Pathetique). for instance bar 28:

Movement 3: Prestissimo

Beethoven dispenses for the first time with a Menuet (or Scherzo/Allegretto) with Trio, which he finds obsolete or too old fashioned. He immediately proceeds with the last movement. The feel is prestissimo, but this is not necessarily the real speed. The bar is to be felt in 2 and this is a blink towards Haydn. The movement is supposed to be a rondo, but is really in Sonata form. That's the form Beethoven likes best. Because it is the last movement, the two themes are not really that much in contrast, but the first is in Cm and the second in Eb. They both convey the same lively feel of speed and that ofcourse gives it the suggestion of a Rondo. Beethoven knows what he is doing. And then note: The shortest development section ever. A mere 12 bars. 

The first Theme

Conclusion

This is a model for a classical Sonata of Beethoven's early period. 

It is our first Sonata in this series, so we do not have anything to compare it with yet, although (from experience) we already see that there are techniques and motives, which Beethove will take over to next sonatas, and we are going to explore the Cm Sonatas first. Which are this one Opus 10.1, Opus 13 (Pathetique) and Opus 111 (Beethoven's last one)..

 

Sonatine

Opus 79
                                          

This was probably most students of Beethoven's first Sonata and it is actually quite attractive. It would not have been published if his brother Karl hadn't brought it to the publisher...

The Leipzig publisher would have welcomed an easier Beethoven Sonata playable by a large public. It is probably written before Opus 78, since Opus 78 had no. 2 written on the manuscript. But although Opus 78 is really one of Beethoven's own favourites, he probably was not entirely convinced of the merit of the other Sonata (now Opus 79).

The first movement really has the sketchiness of a Sonatina although the development and coda parts are in fact quite mature. This way the second part has to be repeated also and this makes it almost extended binary form. It is manageable by an intermediate student provided the student doesn't attempt to put more into it as is actually there. Let the music work for itself. 

The second movement is actually in beautiful Italian style. A song without words. Here the student may put all expression in which he or she can bring forth. With this a performance piece is at hand, which will please many an audience.

I always enjoyed the last movement. Very Haydenish in make up en yet unmistakeably Beethoven. It is not at easy at all, but an ideal vehicle to teach 4 against 3. This will cause some frustration when a first attempt is made.

It is well worth the effort from the side of the teacher to insist that the 4 against 3 is mastered perfectly here, because once mastered it is so useful for later more difficult work.

Let's hear the master's version of this Sonatina:

Andreas on Opus 79.

Or another master for that matter. In this case Daniel Barenboim has beaten Andreas Schiff to it:

Daniel Barenboim plays Opus 79

Patron Saint of Bobos

Lully's dilemma
                                          

Jean Baptiste Lully is probably music history's ultimate Music Bobo. Admittedly contemporary Music Scene is full of them, but if they are looking for a role model, a branch Saint of Music Bobos, look no further. There you have him, Jean Baptiste Lully.

"At the age of 18", he would proclaim during his life,  "he had learnt ALL there was to learn about music" and boasted he did not put anything in practise, which he didn't already know by then. 

He became Louis XIV's court composer and director of the Royal Academy of Music and nothing could ever be performed in France, which did not carry his approval, his 'imprimatur'' so to speak. 

Sort of a 17th century forerunner of the theory of 'All'. And that's a shame, because looking back we all know what exciting things regarding music development would still be in store for us. 

The conductor baton in the hand was not invented yet, and Lully would knock his stick on the floor. Even when he accidentally hit is own foot, he remained in serious denial leaving the invention of the baton to someone else. And thus he died, even in Louis XIV's displeasure.

The myth of Bach

Mattheus Passion

                                           

Yesterday visited probably the first performance of the Mattheus Passion by J.S. Bach in the Netherlands in Rotterdam the Doelen. A very well balanced performance by Toonkunst Rotterdam under Maria van Nieukerken. I enjoyed every minute of it. And that is lots of minutes...

My attention was directed towards sort of another gospel in the booklet. Namely the story of the forgotten Bach resurrected by Felix Mendelssohn. 

Would Joseph Haydn, who learned his craft from the very Bach's son Carl Philipp Emanuel Bach have forgotten J.S. ? In Mozart's Requiem you can find a nearly carbon copy of a fugue from Bach's Well Tempered Clavier book 2 in a-minor and Mozart often trumpeted his respect for the 'old' Bach. All right Sussmayer might have put his hands in the till in the dire need to complete the Requiem. But isn't it interesting that the till he grabbed from was 'old' Bach's? Beethoven also was very vocal about his respect for Bach, but was genius enough to develop his own concept to go fugal. And how older Beethoven became the more he went fugal.

And the very young Chopin in his very first piano Sonata opus 4 in C-minor - written to impress his teacher - shows very clearly in far off Poland Chopin was raised with Bach's well tempered clavier. Alas it would prove to be Chopin's least performed work, because it is a bit of a slog, but that is not the point. The point is that also Chopin in his very teens knew Bach well. Very well!

What then is the myth of Felix Mendelssohn's discovery? Perhaps the myth of the jewish composer who had to become a catholic to become accepted in that part of Germany? And perhaps that part of Germany discovered Bach in the middle of the 19th century? That may very well have been the case.

Theresia Sonata

Opus 78

                                           

This Sonata only has two movements but is very coherent and complete. Both the first movement in pure Sonata Form and the Rondo excel in beauty. Very often this sonata is confused with the Sonatinas, but if it were a Sonatina Beethoven probably would have combined it with the following Sonata. Moreover the Sonatinas were actually given for publication by Beethoven's brother Karl. But this Sonata is too pure in Form and execution to be deemed a Sonatina and the key signature of 6 sharps is to serious too. It deserves to feature on concert programmes more often, after all it was of Beethoven's own favourites and he thought more of it than of the Moonlight Sonata.

Notice that there is a large difference in time between this sonata and the Appassionata, four years in all.

The sonata starts with a beautiful small introduction 'adagio'. The sonata could have easily done without, but alas Beethoven made a statement to open this sonata with this beautiful 'adagio'. Some pianists play this introduction extremely slow. As if to say, this is way too short...

After this opening the beautiful theme of this first movement appears.

It shows Beethoven has gone a long way since Opus 2, already at such high spirits. After the presentation of the theme he immediately progresses as if he were already in a development section. Due to the long period between Appassionata and this sonata I for this reason propose to let the late period of Beethoven (at least in his Piano Sonatas) start with this Sonata. 

The second theme is to the point as the first theme and also seamlessly progresses into creative figures to move to the coda or rather repeat of the exposition.

The development section takes the theme to the minor of F-sharp. It is good advice to repeat both the exposition and the development + recapitulation.

The final movement is a jolly gesture made by Beethoven and is an indication of his fling with the English, which already appeared in the theme of the Appassionata. We are definitely in a period where Beethoven was trying to impress the English Audience and he was not alone. Also Joseph Haydn took quite some time off from his post with Count Esterhazy to woe British audiences. 

The theme of the rondo is a reminiscence of Britannia ruling the waves. Alas Beethoven looks at it with humour!

The cadenzas after the rondo theme are a little chase and get longer and longer as the movement progresses. Good contrasts between loud and soft, bouncy patterns and legatos. 

A Sonata not to be missed and the length of it suits our modern attention spans. The Sonata lasts 10 minutes or so. (of course the second movement can do with some speed!)

Eric Heidsieck plays Opus 78