03 May 2023
To mark the Coronation of King Charles III and Queen Camilla we are highlighting some of the finest examples in our collections of manuscript and printed music associated with coronations in Britain.
Music in Coronation Ceremonies
Music has formed an important part in coronation ceremonies throughout English, and later British, history. The musical selection for each coronation has varied through the centuries, with newly commissioned works and coronation anthems by prominent composers featuring alongside many other sacred and secular pieces. Not only does the music contribute to the grandeur and splendour of the ceremony as a whole, it also plays an important liturgical role in the religious service at the heart of the ceremony, with certain pieces traditionally being performed in specific parts of it.
Handel’s Coronation Anthems
Arguably the most well-known piece associated with the coronation ceremony is George Frideric Handel’s ‘Zadok the Priest’. One of a series of four anthems Handel composed for the coronation of King George II and Queen Caroline in 1727, it has been performed at every coronation since then. Handel’s autograph manuscripts of all four anthems are held in the Royal Music Library at the British Library.
‘Zadok the Priest’ is scored for SATB chorus and an orchestra consisting of strings, oboes, bassoons, trumpets, timpani and basso continuo. The words are drawn from the first Book of Kings (1 Kings 1:38-40), a text that describes the anointing of Solomon as King by the Priests Zadok and Nathan, an act mirrored in the anointing of the new monarch at the solemn heart of the coronation service itself. Handel’s anthem is fittingly performed at this moment in the proceedings.
Reproduced below is a page from Handel’s manuscript showing the opening section of the anthem with the words ‘God Save the King’. The manuscript in full can be viewed on our Digitised Manuscripts website.
You can also follow the opening pages of the manuscript together with the music below:
G.F. Handel: 'Zadok the Priest', HWV 258. Music licensed courtesy of Naxos Music. Catalogue no. 8.578072.
At King George II and Queen Caroline’s ceremony, Handel’s other coronation anthems were sung during the Recognition part of the service (‘The King shall rejoice’), the Inthronisation (‘Let thy hand be strengthened’) and the coronation of the Queen (‘My heart is inditing’). ‘My heart is inditing’ was also set to music by other composers for the crowning of a Queen Consort, such as Henry Purcell (1659-1695) who composed this anthem for the coronation of Queen Mary of Modena in 1685 and William Boyce (1711-1779) who composed the anthem for the coronation of Queen Charlotte in 1761.
Although it was not written for use in coronation ceremonies, Handel’s ‘Hallelujah Chorus’ from Messiah also featured in several coronations, from that of George IV (1821) onwards.
Elgar’s Coronation music
Sir Edward Elgar (1857-1934) composed a number of works for the coronations of King Edward VII and Queen Alexandra in 1902, and King George V and Queen Mary in 1911, although not all of them were actually performed during the coronation ceremonies. These included the Coronation Ode op. 44 composed in 1902, the Coronation March op. 65 and the anthem ‘O hearken thou’ composed in 1911. His Military Marches op. 39 (‘Pomp and Circumstance’) were also performed at the coronations of George VI and Queen Elizabeth in 1937 (no.1), and Queen Elizabeth II in 1953 (nos. 1, 2 and 4), where also the Variation no.9 (‘Nimrod’) from his famous ‘Enigma’ variations op. 36, was heard before the coronation service. Shown below is the title and opening page from the autograph manuscript of Elgar’s anthem ‘O hearken thou’, in a version for voices and organ accompaniment:
The coronation of King Edward VII and Queen Alexandra also included a new setting for the coronation anthem ‘I was glad’ by Sir Hubert Parry (1848-1918). An anthem based on these words is traditionally sung during the monarch’s entrance into Westminster Abbey, and has been set to music by a number of composers, including William Boyce (1711-1779) and Thomas Attwood (1765-1838). Parry’s setting has been used in every coronation since its performance at the coronation of King Edward VII (1902).
Vaughan Williams’s coronation music
Ralph Vaughan Williams (1872-1958) composed his Festival Te Deum for chorus, organ and orchestra for the coronation of King George VI on 12 May 1937. It was based on traditional themes and was performed during the procession from the throne into St. Edward’s Chapel in Westminster Abbey. Shown below is the opening page of the full score in Vaughan Williams’s hand.
Vaughan Williams’s music also featured prominently in the coronation of Queen Elizabeth II on 2 June 1953. The service included the ‘Creed’ and ‘Sanctus’ from his Mass in G minor (Add MS 50443-50444) originally composed in 1920-1921, and he also composed the congregational hymn ‘All people that on earth do dwell’, and the anthem for voices only ‘O taste and see’.
Queen Elizabeth II’s coronation also included William Walton’s (1902-1983) Te Deum Laudamus, for double chorus, semi-chorus, organ and orchestra, which was especially composed for her coronation. It was performed in the same position in the proceedings that Vaughan Williams’s Festival Te Deum was performed for the coronation of King George VI, during the procession into St. Edward’s Chapel. Below are reproduced the title and opening page from Walton’s autograph manuscript:
Queen Elizabeth II’s coronation additionally included the anthem 'I will not leave you comfortless’ ('Nos vos relinquam orphanos') for solo voices by William Byrd (ca. 1540-1623), whose 400th anniversary is celebrated this year. Below is a page from the soprano (cantus) part of this piece in the original Latin version ‘Non vos relinquam orphanos’:
‘God Save the King’
We also hold in our collection what is believed to be the earliest surviving manuscript of the words and music of what has since become Britain’s national anthem. Although the words and tune are anonymous, the anthem has been arranged and harmonised by numerous composers since it first became known in the mid-18th century. The arrangement shown below is in the hand of the composer Thomas Arne (1710-1778) and was sung at Drury Lane Theatre in London in 1745. The words are slightly different from the established version and include mention of the king at the time, George II. Historically, it was not uncommon for the national anthem to mention the name of the King or Queen.
Dr Loukia Drosopoulou, Curator, Music
Matthias Range, Music and Ceremonial at British Coronations: from James I to Elizabeth II (Cambridge: Cambridge University Press, 2012).
Anselm Hughes, ‘Music of the Coronation over a Thousand Years, Proceedings of the Royal Musical Association, 79th Session, May 1953, pp. 81-100.
Janet Leeper, ‘Coronation Music’, The Contemporary Review, volume 151, January 1937, pp. 554-562.
29 March 2023
The 1st of April 2023 marks 100 years since the birth of Oliver Wray (Tim) Neighbour (1923-2015) former Music Librarian of the British Library, scholar and Library benefactor, who is fondly remembered by his former colleagues.
Tim began working at the British Museum Library as a cataloguer in 1946. He became Assistant Keeper in the Music Room in 1951, and was Music Librarian from 1976 until his retirement in 1985. His work was focused on building up the printed music collections (music manuscripts at that time were the responsibility of the Department of Manuscripts), adding appropriately to the existing collections. As his musicological knowledge informed this collection development activity, so his librarian's intimate knowledge of sources informed his scholarly writing. His publications include works on the consort and keyboard music of William Byrd, and the music of composers as varied as Orlando Gibbons, Richard Wagner, Arnold Schoenberg and Ralph Vaughan Williams.
During his time as Head of the Music department, he also oversaw the publication of the 62 volumes of The Catalogue of Printed Music in the British Library to 1980 (London: K.G. Saur, 1981-1987). This important work was the first published catalogue of the printed music collections, whose converted entries form the bulk of the records for printed music resources in the current online catalogue.
During and after his tenure as Music Librarian, Tim was gradually building up a private collection of music manuscripts, which he left to the Library in his will; this collection includes autograph manuscripts of Corelli, Clementi, Puccini, Debussy, Coleridge-Taylor, Britten, Lutyens, Schoenberg, Stravinsky and many other composers. He also made a significant bequest to the British Library for the purchase of printed and manuscript music.
Tim's dedication to the British Library's music collections continued well beyond his retirement, as he transferred seamlessly to a Voluntary Assistant role and continued to attend every working day. Current members of the music teams have memories of him dating from the 1990s and 2000s. Tim walked from his home in Marylebone to the Library every morning. His arrival (at 10.34 precisely) was the signal for all who were so inclined to take a coffee break, where work matters might be discussed, along with other wide-ranging topics; from plans for walking and bird-watching holidays on the Isle of Skye (Tim was a keen ornithologist), to the merits of Alice in Wonderland, to the best method of drying clothes in a London flat, to the difference between the Catalogue of Printed Music's 'suppositious' and 'supposititious' works. He would then spend the rest of the day at work in the music office, lending his expertise to curatorial selection decisions and carrying out other projects.
At this time Tim chose to contribute through his existing specialist knowledge rather than spend time learning new technologies. He never embraced email as a means of communication; instead, explanatory notes were written in small neat handwriting with one of his selection of improbably short pencils. To copy him in to an email correspondence meant laying a printed copy of the relevant email on his desk!
Tim was always encouraging to colleagues and willing to share his detailed knowledge of the music collections and the quirks of their history. He was a familiar figure at social gatherings and outings, which he enjoyed, and was always interested in his colleagues' lives and activities, inquiring kindly after family members. We join his family and friends in remembering him with affection at this time.
Caroline Shaw, Music Cataloguing and Processing Team Manager
Chesser, Richard. “Oliver Wray ‘Tim’ Neighbour (1923–2015)”, Fontes Artis Musicae, vol. 62, no. 4, 2015, pp. 349–51. JSTOR, http://www.jstor.org/stable/24578452. Accessed 27 Mar. 2023.
Shenton, Kenneth. ‘Oliver Neighbour: Versatile librarian and scholar who played a vital role in raising musicological standards in postwar Britain’, The Independent, Thursday 26 March 2015. https://www.independent.co.uk/news/people/oliver-neighbour-versatile-librarian-and-scholar-who-played-a-vital-role-in-raising-musicological-standards-in-postwar-britain-10134085.html. Accessed 27 Mar. 2023.
08 November 2022
On 15 November 1950 the RAI (Radio Televisione Italiana) Third Programme broadcast I due timidi, an ‘opera radiofonica’ composed by Nino Rota to a libretto by Suso Cecchi d’Amico, for the first time. It had been commissioned by the Italian public broadcasting company, which aimed to create an original repertoire exclusively intended for radio. It was the beginning of a remarkable journey: over two decades the opera would be performed across different media, languages and cultures, ranging, with appropriate adjustments, from the darkness of radio to the limelight of the stage and television, constantly reshaping to adapt to new contexts, while keeping its own poetic, aesthetic, dramatic, and musical substance. This is indeed a fascinating story, with a relevant chapter unfolding in Britain during the 1950s, which documents preserved in the British Library allow us to reconstruct.
Nino Rota (1911-79) and Suso Cecchi d’Amico (1914– 2010) were invited to create a new opera for broadcasting in late 1949. They had been close friends since their youth, sharing from different sides the exciting adventure of Italian post-war cinema. Rota, a talented pupil of Ildebrando Pizzetti and Alfredo Casella, was successfully making his way as a composer of both classical and applied music, and was already known in England as the author of the score for films such as The Glass Mountain. Cecchi d’Amico, the daughter of eminent scholar Emilio Cecchi and painter Leonetta Pieraccini and the wife of the distinguished music critic Fedele d’Amico, was successfully making her way as a screenwriter, the co-author of the script for Vittorio De Sica’s film The Bicycle Thief.
Working together in perfect harmony, in a few months they conceived and created an original story that takes place over a single day in a lower middle-class apartment block in an unnamed city – a recurring setting in Italian movies at the time. A young man, Raimondo, and a young woman pianist, Mariuccia, who are in love with each other from a distance but have never met, have settled close to each other, hoping to be able one day to declare their mutual love. Raimondo lives in a boarding house held by a mature landlady, while Mariuccia resides in a modest flat with her mother, gracefully practising the piano to Raimondo’s delight. However, fate has different plans for them. An accident and a subsequent misunderstanding cause each of them to declare their love to the wrong person, which turns out to be fatal: both Raimondo and Mariuccia are too shy to express their true feelings in order to put right the difficult situation. In an elliptical, bittersweet finale, set two years later, we hear an exhausted pianist practising at night-time – it is Mariuccia, now the wife of an elderly doctor, mother of two kids - and an angry male voice: Raimondo, now the landlady’s husband and the landlord of the boarding house, who is manifestly annoyed by that disturbing noise.
I due timidi in the UK
I due timidi received a special mention at the Prix Italia 1950, where its immediate expressiveness and the fresh quality of its soundscape were greatly appreciated, including by delegates from the BBC. Within a few months the BBC Third Programme broadcast the Italian production of the opera and the operatic department at the BBC produced an English version, first aired on 5 March 1952, again on the Third Programme, under the title The two shy people. A few days later, on 17 March 1952, the opera received its world stage premiere at the Scala Theatre in London, a production of The London Opera Club in association with the Arts Council of Great Britain.
The intense British life of I due timidi during the 1950s is retraceable in detail from documents kept in a folder preserved at the British Library (MS Mus. 1743) presumably collected by David Harris, the BBC Opera Manager who was the producer of the opera’s BBC broadcast and the author of the English version of its libretto. The folder is rich in press cuttings related to the 1952 radio performance and to a new production, also curated by Harris and broadcast on the BBC Home Service on 1 April 1957, whose typewritten opening and closing announcements are preserved. The folder additionally contains a considerable number of reviews of the stage premiere, but no press cuttings referring to the BBC production of the opera for television, which adopted the English version by Harris and was first broadcast after his death, on 30 March 1961.
The vocal score
The core of the folder lies in the musical material. The vocal score of the opera, a diazotype copy of a non-authorial manuscript of the original version signed by Harris on the cover and by the whole cast of the 1952 production inside, has Rota’s autograph dedication to Harris inscribed on the front page. The playbill flyer of the stage premiere is pasted on the inside cover.
The score clearly testifies to the work undertaken to make the opera more intelligible to a British audience. The English translation is added in red ink in exact alignment with the Italian text and carefully notes slight alterations to the original version, such as the addition of a 25-bar prologue before the original opening (using the same music as the closing 25 bars of the opera) followed by a brief spoken description of the scene.
Recordings and UK revival
It is especially interesting to look at the musical material while listening to the recordings of the 1952 (Product note 1LL0011884-95) and 1957 (Product note 1LL0011487-1LL0011499) BBC broadcasts, which are kept in the Library and available for listening as audio files. There is still uncertainty over the exact identity of the recording of what seems to be a studio performance of the English piano version (Product note 1LL0012460-73, presumably dated 19 February 1961).
The documents as a whole prove to be an invaluable source to allow a close examination of the opera in its multiple versions and to integrate with the precious autograph material relating to the opera preserved in the Fondo Nino Rota at the Fondazione Cini, Venice.
I due timidi received its Italian stage premiere on 19 January 1971 at the Teatro Petruzzelli in Bari – a city in the South, where Rota was the director of the local Music Conservatory for almost 30 years. From that moment on, it was gradually included in the opera repertoire. Seventy years after the world stage premiere, the opera returns to the London stage, presented by the Guildhall School’s Opera Department at the Silk Theatre. We would like to imagine that Nino Rota, who had a special affection for London and was happy to have some of his operas staged by students in academic institutions, would be delighted to be together with his dearest friend Suso Cecchi d’Amico in the audience.
Prof. Angela Annese
Conservatory of Music “Niccolò Piccinni”, Bari
Pier Marco De Santi, La musica di Nino Rota (Roma-Bari, 1983).
[BL Shelfmark: General Reference Collection LB.31.b.4190]
Suso Cecchi d’Amico, Storie di cinema (e d’altro); raccontate a Margherita d’Amico (Milano, 1996; Milano, 2002).
Francesco Lombardi (ed.), Fra cinema e musica del Novecento: il caso Nino Rota (Firenze, 2000).
Veniero Rizzardi (ed.), L’undicesima musa: Nino Rota e i suoi media (Roma, 2001).
Richard Dyer, Nino Rota: Music, Film and Feeling (London, 2010).
[BL Shelfmark (2nd edition, 2019): General Reference Collection DRT ELD.DS.550948]
Francesco Lombardi (ed.), Nino Rota: un timido protagonista del Novecento musicale (Torino, 2012).
Suso Cecchi d’Amico, Suso a Lele: lettere (dicembre 1945 – marzo 1947), a cura di Silvia e Masolino d’Amico (Milano, 2016).
[BL Shelfmark: General Reference Collection YF.2019.a.15133]
Nino Rota: I due timidi (original radio production, 1950), Twilight Music TWI CD AS 06 27 (2006)
Nino Rota: La notte di un nevrastenico / I due timidi (live recording, Rieti, Teatro Vespasiano, 2017), Dynamic DVD 57830 (2018)
Nino Rota: La notte di un nevrastenico / I due timidi (live recording, Rieti, Teatro Vespasiano, 2017), Dynamic CDS7830.02 (2019)
21 April 2022
As we come into the final few days of our Beethoven: Idealist. Innovator. Icon exhibition, open until Sunday 24 April, we are concluding our series of Beethoven blog posts with a blog dedicated to Beethoven’s legacy.
Join us also for our last events celebrating Beethoven on Friday 22 April at 19.00: Beethoven in concert, with the Academy of St Martin in the Fields and the Bach Choir and on Saturday 23 April at 19.30: Late at the Library: The Will Gregory Moog Ensemble.
Drawing from the rich collection of Beethoven material kept at the Library, the objects on display have given visitors a unique opportunity to experience the composer’s manuscripts, published scores, notebooks, letters, and personal belongings in the flesh. The immediacy of Beethoven’s chaotic handwriting shows his creative imagination at work, his personal notebooks reveal an individual troubled by progressive hearing loss, and his letters show that Beethoven was as much an astute businessman as a composer. But whilst the intimacy of these objects gives us access to Beethoven the individual, it remains difficult to gain a single perspective on the composer.
It is the often-ambiguous image of Beethoven that carries his influence through music, literature, and the visual arts; to frequent adaptations and reinterpretations in popular culture; and that has allowed his music to be appropriated by diverse (often conflicting) political movements since his death. Beethoven’s image was elusive even during his lifetime. Prints of the composer circulated widely in Europe, and likenesses were contested by his contemporaries and even by Beethoven himself. The exhibition features several depictions of Beethoven that show the changing image of the composer in his life, death, and legacy.
The title image of the exhibition recreates a portrait of Beethoven by Carl Jager (1870). The painting was completed over 40 years after Beethoven’s death. It shows a highly Romanticised image of the composer with a thoughtful look and swept-back hair. After its completion, an engraved version was printed and distributed by major publisher Frederick Bruckmann who traded in Berlin, Paris, New York and London.
Johann Peter Lyser’s sheet of Beethoven sketches (1833) include a full-length image of Beethoven in a top hat and coat and one of his head in profile. Although Lyser had never met Beethoven, the lithograph was considered a good likeness and was popular throughout the 19th century. Lyser produced the image from written descriptions of Beethoven but implied its authenticity visually by writing ‘Created after an original drawing’ below the image and including a copy of Beethoven’s signature. The British Library’s copy of the print made its way to England via Ignaz Moscheles, co-director of the Philharmonic Society in London, who included it in his autograph book.
One of the most striking moments in the exhibition are the sketches made by Austrian painter and lithographer Josef Teltscher who attended Beethoven at his deathbed. The two images show a rough sketch of the deathbed scene (right) and a touched-up version (left). Teltscher’s depictions sit on the boundary of Beethoven’s life and legacy. The rough sketch on the left shows a stark representation of Beethoven’s death, departing life with fists clenched, hair dishevelled, and face grimaced, whilst on the right we are presented with an image of Beethoven at rest, his softened facial features and pillow detail remarkably peaceful in contrast. Between these two images we see the Romanticisation of Beethoven in process: the immediate observations of the artist’s preliminary sketch followed by the idealised reconstructed image, perhaps ready for reproduction in paint or print.
At the centre of the final section of the exhibition on Beethoven’s legacy sits a bust of Beethoven, copied from one sculpted by Johann Nepomuk Schaller (1777-1842). The bust presents the Romantic image of Beethoven in full swing. His swept back hair, classical attire, and piercing look form one of the most recognisable images of the composer today. The bust was donated to the Philharmonic Society in 1870 and has featured at every Society concert since 1871. The Society have adopted this image of Beethoven as 'a symbol of enduring musical excellence', and use the image for their prestigious gold medal.
Since the production of contemporary prints, the deathbed sketch, and Schaller’s iconic bust, Beethoven’s image has become ubiquitous in popular culture, reimagined in the screen prints of Andy Warhol (1987) and in Terry Adkins’ Synapse (2004) as part of his Black Beethoven series.
The legacy section of the exhibition provides a glimpse of the myriad ways Beethoven has influenced art, politics, and popular culture over the past two hundred years. Visitors are invited to contemplate the adoption of Beethoven’s music by a diverse range of political movements, his influence on countless composers, writers, and visual artists, and how his music and image have frequently found their way into popular culture.
A pamphlet of Wartime Songs from the BBC (1944) broadcast to Nazi-occupied France sees Beethoven’s music playing a part in the V for Victory campaign during the Second World War; May Byron’s romanticised fictional account of the composer’s daily life (1910) show his image being adopted into popular literature; Charles Schulz’s yearly celebration of Beethoven’s Birthday in his Peanuts cartoons brought Beethoven to a younger audience; and the Voyager Golden Record sees Beethoven’s music sent drifting out into deep space.
There are only a few days left to experience this Beethoven material on display, until the exhibition itself becomes part of Beethoven’s legacy. But the items on show only scratch the surface of the Beethoven material available at the library, and readers will be able to explore Beethoven through the rich physical and digital collections that have made this exhibition possible.
Dominic Bridge, Collaborative PhD student, University of Liverpool and British Library
12 April 2022
Of the exhibits in our current Beethoven exhibition, no fewer than 12 come from the collection of autograph manuscripts assembled by the Austrian writer Stefan Zweig, and generously bequeathed to the British Library by his heirs in 1986.
Stefan Zweig as a collector
Zweig was a keen collector of autographs from an early age and built up one of the finest collections of its kind. He particularly sought out examples which he felt showed the process of creativity in the writers, composers and other historical figures he most admired. Beethoven was certainly one such, and fitted Zweig’s image of the true creative genius, but most of Zweig’s Beethoven material in fact comprised not music manuscripts that show Beethoven the genius composer at work, but items such as letters and notebooks that shed light on Beethoven the man.
This was no doubt in part because Zweig had an equally wealthy and eager rival when it came to collecting Beethoveniana, the Swiss bibliophile Martin Bodmer, but Zweig also had a liking for ‘relics’ of great men as well as actual examples of their work. One of his happiest moments as a collector came in 1929 when he was able to purchase Beethoven’s writing-desk and various other realia once belonging to the composer, such as a lock of hair, a violin and even a compass, from the descendants of Beethoven’s friend Stephan von Breuning. (These were later acquired by Bodmer and are now in the Beethoven-Haus in Bonn.)
Exhibits from the Zweig collection in the Beethoven exhibition
Two of the items from the BL Zweig manuscripts currently on display show a very humdrum side of Beethoven’s life: a laundry list and a page of kitchen accounts. The latter gives a glimpse into Beethoven’s diet: a lot of meat, bread and potatoes, spiced with mustard and horseradish, and washed down with wine and rum. Vegetables do feature, but usually lumped together as ‘Zuhspeis’ (literally a ‘side-dish’). Perhaps this was one of the reasons for his frequent ill health, referred to with a dash of self-deprecating humour in a letter of 1817 inviting his friend Johann Bihler to visit and mentioning that ‘Dr Sassafras’ will also be in attendance – a reference to the diuretic sassafras root.
Other items show more ‘elevated’ aspects of Beethoven’s life. A notebook from the early 1790s lists expenses from his first months in Vienna, including a series of composition lessons with Joseph Haydn, the main reason he had come to the city. Another collection of notes from 1815 contains transcriptions of poems by Johann Gottfried Herder with some snatches of music and some reflections on nature by Beethoven. By this time Beethoven’s loss of hearing loss was very advanced, but he writes that this seems not to trouble him in the countryside and that “every tree seems to speak to me, saying ‘Holy! Holy!’” Despite a number of health and personal problems at this time, another piece from 1815 strikes a similar note of optimism: a short three-part canon written in the autograph album of fellow-composer Ludwig Spohr sets words from a play by Friedrich Schiller, “Kurz ist der Schmerz und ewig ist die Freude” (“Pain is brief and joy is eternal”).
Beethoven’s admiration for Schiller’s work would culminate of course in the setting of the ‘Ode to Joy’ in his Ninth Symphony, but he also set works by the other literary giant of the age, Goethe. Zweig was particularly pleased to acquire the manuscript of the song ‘Die Trommel gerühret’ (‘The drum is beaten’) from Beethoven’s incidental music to Goethe’s play Egmont as it combined the work of both men. In the play the song is sung by Egmont’s mistress Clärchen, who dreams of dressing as a soldier to follow her beloved to war. It is one of the pieces that forms the soundtrack to the exhibition, along with another work owned in manuscript by Zweig and on display, the 1808 Sonata for Piano and Cello in A major.
The last Zweig items displayed relate to Beethoven’s death and funeral. A book of sketches by Josef Teltscher includes two studies of the composer on his deathbed. Teltscher was in attendance and his moving images of an exhausted Beethoven are no doubt more realistic that the legend that Beethoven died shaking a fist in defiance. A list of expenses for Beethoven’s funeral shows what a costly affair it was, with details of money spent to pay the priests and to provide candles and roses. It was one of the most lavish funerals ever granted to a commoner in Vienna and the streets were packed with onlookers. Access to the service was by invitation only; the invitation on display is thought to have belonged to Stefan von Breuning. Finally there is a list of donors to a fund to help Beethoven’s servants after his death, something that brings us back to the household accounts and laundry list and reminds us of the people behind them who ran Beethoven’s various households in Vienna.
Some of Zweig’s contemporaries – and more recent critics – may have been cynical about the relic-hunting aspect of Zweig’s collecting, something nowhere more obvious than in his Beethoven holdings. But these items can help us to see a more rounded picture of Beethoven and his world rather than just the genius at work.
Susan Reed, Lead Curator Germanic Collections
Arthur Searle, The British Library Stefan Zweig Collection: Catalogue of the Music Manuscripts (London, 1999).
Oliver Matuschek (ed.), Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig, mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna, 2005).
Oliver Matuschek, Three Lives: a Biography of Stefan Zweig (London, 2011).
Michael Ladenburger, Das “kollektive Sammler-Empfinden”: Stefan Zweig als Sammler und Vermittler von Beethoveniana: Begleitbuch zu einer Ausstellung des Beethoven-Hauses Bonn, 12. Mai-4. Oktober 2015 (Bonn, ) (A brief PDF guide to the exhibition that this book accompanied can be found here:)
23 March 2022
Next week we are proud to host cellist Adrian Brendel and pianist Simon Callaghan as they perform Beethoven’s Cello Sonatas at the Knowledge Centre (Thu 31 Mar 2022, 19:30 - 21:00). To mark the occasion, this blog explores through our collections Beethoven’s collaborations with eminent cellists during his life who inspired and helped to shape aspects of these works.
Beethoven composed five sonatas for cello and piano, between 1796 (op. 5 nos. 1–2) and 1815 (op. 102 nos. 1–2). One of the collection items in our current Beethoven: Idealist, Innovator, Icon exhibition are sketches for his third cello sonata, the op. 69 in A major, considered a masterpiece in the genre (Zweig MS 6).
The sonata, entitled Grande Sonate pour Pianoforte et Violoncelle, was composed in 1808, in the year when Beethoven was also working on his Fifth and Sixth symphonies. The sketches in Zweig MS 6 are for the third and fourth movements, and are mostly written on single staves with piano or ‘cello indicated above at relevant points.
Beethoven dedicated the sonata to his close friend and supporter Baron Ignaz von Gleichenstein (1778–1828) who was also an amateur cellist. The sonata was first performed by the cellist Nikolaus Kraft and pianist Dorothea von Ertmann (1781-1849), who was a pupil of Beethoven, in March 1809.
Nikolaus Kraft (1778-1853) was the eldest son of the cellist Anton Kraft (1749-1820). In 1801 he travelled to Berlin together with his father where he received cello lessons for one year from the virtuoso cellist Jean-Louis Duport (1749-1819), who was employed there at the Prussian court of King Friedrich Wilhelm II. Nikolaus, as well as his father, was also for a time a member of the Schuppanzigh string quartet – named after its founder the violinist Ignaz Schuppanzigh (1776-1830) – which gave a number of first performances of Beethoven’s string quartets.
The Krafts were not the only cellists with whom Beethoven worked during his life. In spring of 1796 Beethoven visited the Prussian court in Berlin, where he also met Jean-Louis Duport, and it was there that his op. 5 cello sonatas originated. These sonatas are regarded today as the first ‘true’ sonatas for cello and piano, as the two instruments are given equal importance.
Jean-Louis Duport was one of the most influential cellists of his time. In the early 19th century he published a violoncello treatise entitled: Essai sur le doigté du violoncelle et sur la conduite de l’archet (Essay on fingering the violoncello and on the conduct of the bow) (Paris, 1806). This became one of the most influential cello treatises in the history of the cello; the exercises (Études) that are included in it are still practised by cello pupils today. An English translation by John Bishop (1817-1890) was published in London in 1853:
At the time of Beethoven’s visit, Jean-Louis Duport was principal cellist in the opera orchestra and, together with his brother the virtuoso cellist Jean-Pierre Duport (1741-1818), also instructed the king on the cello. Several cello parts in the king’s music collection – now at the Staatsbibliothek zu Berlin – include fingerings and other performance annotations marked in red crayon, which are probably in the hand of Jean-Louis Duport or his brother, such as in the first violoncello part of Luigi Boccherini’s string quintet op. 31 no. 5.
Beethoven and Jean-Louis Duport performed his op. 5 cello sonatas for the king, and apparently, Beethoven also intended to dedicate the two sonatas to him. This is evident from a letter, now lost, which Duport sent to him where he wrote: ‘Duport, acknowledges the dedication to him of Beethoven’s two sonatas for piano and violoncello and expresses the wish to play them with the composer’.[i]
In the end the op. 5 cello sonatas were dedicated to the King of Prussia, Friedrich Wilhelm II. This was not the only occasion where Beethoven would change his mind about the dedication of a particular work. He had also originally dedicated his Violin Sonata op. 47, the ‘Kreutzer’, to the British violinist George Bridgetower (1778-1860) before changing the dedication to the French violinist Rodolphe Kreutzer (1766-1831). These initial gestures, however, show an appreciation of the musicians Beethoven worked with, and an intent to acknowledge them.
No autographs of the op. 5 cello sonatas survive but the ‘Kafka’ sketch miscellany (Add MS 29801) – selected leaves from which are also on display in the exhibition – includes a number of sketches for the two op. 5 cello sonatas, revealing Beethoven’s compositional processes and initial ideas for these.
In Beethoven’s ‘Kafka’ sketch miscellany scholars have also noted a leaf where Beethoven wrote ‘Billet an duport Morgen frühe’ (note to Duport tomorrow morning) (f. 57v) and on another leaf, in a different hand, what appears to be scales and double stops with fingerings for the violoncello (f. 109r).[ii] These resemble fingering patterns in Duport’s Essai, which has lead scholars to assume that these could be in the hand of Jean-Louis Duport himself, or possibly his brother.[iii] No autographs of Jean-Louis Duport’s compositions are known to survive which would allow a comparison of his musical handwriting with the exercises in the ‘Kafka’ sketchbook, apart from some letters in his hand at the Bibliothèque nationale de France, which however don’t include any music notation.
Beethoven was not the only composer to have been influenced by the techniques of the Duport brothers. Several years before Beethoven’s visit, in spring of 1789, Mozart had visited the Prussian court of King Friedrich Wilhelm II for whom he began composing a set of string quartets, which later became known as the ‘Prussian’ quartets (K 575, K 589, K 590). In the autograph of the first of the ‘Prussian’ string quartets we find solo passages for the cello in the high register of the instrument. These are furthermore written in the treble clef as was the customary, French notation style that the Duport brothers adopted at the Prussian court for writing for the cello in that register, as opposed to the Italian notation style of using movable ‘C’ clefs.[iv]
That fact that Beethoven worked closely with cellists throughout his life is further documented in a note that he sent to the cellist Joseph Linke (1783-1837), who, like the Krafts, was for a period a cellist in the Schuppanzigh string quartet and for whom Beethoven composed his op. 102 cello sonatas. In 1814 Beethoven wrote to him: ‘Dear Linke, Do me the favour of breakfasting with me tomorrow morning, as early as you like, but not later than half past seven. Bring a cello bow, for I have something to discuss with you.’[v]
The sketches of Beethoven’s cello sonatas and related archival documents reveal his openness in learning new instrumental techniques and his engagement and collaboration with eminent performers of his time, who influenced and helped to shape aspects of these works.
The concert on Thursday 31 March with Adrian Brendel, cello, and Simon Callaghan, piano will include a performance of Beethoven’s cello sonatas op. 5 no. 2 and op. 69.
References and further reading
[i] Theodore Albrecht, Letters to Beethoven and other Correspondence (Lincoln: University of Nebraska Press, 1996), vol.1, pp. 52-53.
[ii] Lewis Lockwood, ‘Beethoven’s early works for violoncello and contemporary violoncello technique’, Beiträge ’76-78: Beethoven Kolloquium 1977. Dokumentation und Auffürungspraxis (Kassel, 1978), pp. 174-182.
[iii] Lewis Lockwood, ‘Beethoven’s early works for violoncello and contemporary violoncello technique’, Beiträge ’76-78: Beethoven Kolloquium 1977. Dokumentation und Auffürungspraxis (Kassel, 1978), pp. 176, 181.
[iv] Valerie Walden, One Hundred Years of Violoncello: a history of technique and performance practice, 1740-1840 (Cambridge: Cambridge University Press, 1998), pp. 74-78.
[v] Emily Anderson, The Letters of Beethoven (London: Macmillan Press, 1961), vol.1 no.515, pp. 482.
Loukia Drosopoulou, ‘Music copyists at the court of Friedrich Wilhelm II of Prussia’ Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz (2013), pp. 277-311.
Joseph Kerman (ed.), Autograph miscellany from circa 1786 to 1799: British Museum Additional Manuscript 29801, ff. 39-162 (The Kafka sketchbook) (London: British Museum, 1970).
Alan Tyson, ‘New light on Mozart’s ‘Prussian’ Quartets’, The Musical Times, 116 no. 1584 (1975), pp. 126-130.
Dr Loukia Drosopoulou, Curator, Music
07 March 2022
We are pleased to announce a number of new additions to our Music e-resources offer this year:
Medici.TV is a world-leading classical music channel, offering access to live performances and classical music programmes to viewers worldwide. More than 150 live events are broadcast each year, in partnership with the world's most prestigious venues, opera houses, festivals and competitions. Their platform also features over 3,000 programmes, including: concerts and archived historical concerts; operas; ballets; documentaries, artist portraits; educational programmes and masterclasses, which are available to stream in HD.
Medici.TV is currently available in our reading rooms and can be accessed via the Find Electronic Resources webpage.
RIPM Retrospective Index to Music Periodicals (Full text) and RIPM Preservation Series: European & North American Music Periodicals (Full text)
RIPM (Répertoire international de la presse musicale) offers online access to thousands of European and North American music periodicals from the mid-18th to the mid-20th century. This includes articles in music journals, daily newspapers, literary periodicals, theatrical journals, and magazines, constituting a remarkable documentary resource to music historians.
We now subscribe to the full-text versions of both RIPM Retrospective Index to Music Periodicals and RIPM Preservation Series: European & North American Music Periodicals, which can both be accessed in our reading rooms via the Find Electronic Resources webpage.
Music Online: Classical Scores Library Volumes I-IV
This multivolume series contains more than 53,000 titles of the most important scores in classical music, ranging from the Middle Ages to the 21st century. More than 4,600 composers are included, from traditionally studied composers such as Mozart and Tchaikovsky to contemporary artists including Kaija Saariaho, Peter Maxwell-Davies, and John Tavener.
Music Online: The Garland Encyclopedia of World Music
Music Online: The Garland Encyclopedia of World Music is the first comprehensive online resource devoted to music research of all the world's peoples. More than 9,000 pages of material and 300 audio recordings, combined with entries by more than 700 expert contributors from all over the world, make this the most complete body of work focused on world music.
Music Online: Smithsonian Global Sound for Libraries
Music Online: Smithsonian Global Sound for Libraries is the largest and most comprehensive streaming audio collection of world music. With nearly 3,000 albums and more than 40,000 individual tracks of music, spoken word, and natural and human made sounds, this collection includes the published recordings owned by the non profit Smithsonian Folkways Recordings label together with the archival audio collections of the legendary Folkways Records, Cook, Dyer-Bennet, Fast Folk, Monitor, Paredon and other labels.
You can browse the full range of Music e-resources available in our reading rooms and/or remotely via the Find Electronic Resources webpage:
For any enquiries on how to access and use our e-resources please contact our Music or Sound & Vision Reference Teams.
21 February 2022
We’ve had two very exciting additions to our Beethoven exhibition recently, in the form of loans from the Music Department and Mendelssohn Archive of the Berlin State Library – Prussian Cultural Heritage Foundation.
With a big drumroll…
We are thrilled to announce that the autograph manuscript of Beethoven’s Ninth Symphony has arrived – its first time in the UK. The piece is often thought to be among Beethoven’s greatest achievements and, with its famous ‘Ode to Joy’ movement, one of his most immediately recognisable works. Its arrival in the UK is especially significant as the piece was first commissioned by the Philharmonic Society in London. It is even more of a privilege that the manuscript has been lent for the exhibition, since it became the first musical score to be added to UNESCO’s Memory of the World Register in 2001.
The first complete score
The autograph score from Berlin represents the first complete manuscript of the symphony, committed to paper by Beethoven between 1822 and 1824. The pages on display show a climactic passage in the final part of the setting of the ‘Ode to Joy’, a poem by Friedrich Schiller celebrating universal friendship and equality.
How does it relate to London and the exhibition?
In November 1822 the Directors of the Philharmonic Society in London decided to offer Beethoven £50 for a new symphony for their season the next year: this was to become the Ninth. The minute books from that meeting are among the objects in the exhibition showing some of the realities behind the creation of famous works of art – a receipt, signed by Beethoven for his £50 fee, is another one.
The commission was supposed to have given the Philharmonic Society the premiere of the new work and exclusive rights for 18 months after, but Beethoven in fact arranged for the first and second performances of the piece to be held in Vienna in May 1824.
A neat manuscript, prepared by copyists under Beethoven’s supervision and incorporating some changes in his hand was sent to London in fulfilment of the commission at some point in 1824, probably after those first Vienna performances. This, a star item from the Royal Philharmonic Society Archive, acquired by the British Library in 2002, is also on display in the exhibition: the first time the two manuscripts will have been side by side since 1824.
Conversing with Beethoven
Another artefact on loan from Berlin, of no less significance in telling the story of Beethoven’s life, is one of the composer’s conversation books. By 1818 Beethoven’s hearing had deteriorated to such an extent that he carried with him a ‘conversation book’ so that his companions could write down their contribution to the dialogue. Beethoven normally replied verbally, so only one side of the conversation survives in most cases. The book on display dates from April 1824, with several visitors giving insights into an assortment of unconnected and unremarkable issues from Beethoven’s daily life. However, a musical excerpt in the composer’s hand appears on one of the pages on display, showing him explaining that the emphasis in the final line of the ‘Ode to Joy’ should be on the word ‘Sternen’ (‘stars’).
Beethoven’s hearing loss
The conversation book joins several other items in the exhibition that help to illustrate Beethoven’s struggles with increasing deafness through his life. This theme is reflected in some of his own writings, in the accounts of people who met him and in a specially-created installation that allows visitors to experience Beethoven’s music through vibrations and visualisation.
Visit the exhibition!
Both loans had had to be postponed due to Covid-19 restrictions that were implemented before the opening of the exhibition in December 2021. Happily though, the loan has now been able to go ahead. With the exhibition open until Sunday 24 April, we hope as many people as possible get to see these iconic manuscripts from Berlin, alongside the diverse and surprising range of scores, letters and other artefacts from the British Library’s own collections.
Chris Scobie, Lead Curator, Music Manuscripts
Music blog recent posts
- Music for British Coronations
- Remembering Tim Neighbour
- Nino Rota’s I due timidi - an opera for radio transmission
- Beethoven's legacy
- Beethoven and Zweig
- Beethoven and the cellists behind his cello sonatas
- New Music E-resources
- Beethoven exhibition update: some new arrivals from Berlin
- Conserving creativity – the case of Beethoven’s ‘Kafka’ sketch miscellany
- Beethoven at the British Library – a list of online resources