Ein Brief | Christus am Ölberge - Schedule, Program & Tickets
Ein Brief | Christus am Ölberge
A LETTER
A reflexive scene
Austrian premiere
Muik by Manfred Trojahn
Text by Hugo von Hofmannsthal
CHRIST AT OILBERGE
Oratory (1803)
Music by Ludwig van Beethoven
Libretto by Franz Xaver Huber
Performance in German
Anxiety to the future: In the fictitious document Letter of Lord Chandos to Francis Bacon by Hugo von Hofmannsthal (1902), a hitherto successful young poet reports on the loss of his linguistic and thus of his poetic abilities. Doubts plague him, also regarding the medium of language in general. Hofmannsthal himself was looking for a new language after the turn of the century, for new ways of expressing his art. Based on this text, the renowned German composer Manfred Trojahn, who provided important contributions to music theater with Enrico or Orest, compiled a prologue to a staged performance of Beethoven's oratorio Christus am Ölberge. Hofmannsthal's text thematizes the artist crisis and thus also the creative background that Beethoven had in the constitution of his oratorio. His Heiligenstadt testament, written in October 1802, which was only found in his estate, reports of Beethoven's personal crisis. Here he lamented his progressive deafness, which he saw as humiliation and which excluded him from society. He even had thoughts of suicide. Right at the beginning of next year he started working as an opera composer at the Theater an der Wien. It was a difficult start, for Beethoven did not have much experience with vocal works in general, let alone operas. He was to write his first opera on Schikaneder's libretto Vestas Feuer. Since the oratorio is a genus related to the opera, the Christ was possibly a kind of practice for him - at least it is considered certain that his only third vocal work was written in a very short time in early 1803. The premiere took place in a musical academy on 5 April d.J. in the Theater an der Wien. It was one of Beethoven's first major works after his Heiligenstädter Testament. In the following years, he musically explored new paths, creating masterpieces, such as the Eroica. Hofmannsthal's text provides a new perspective on the oratorio as well as Beethoven's biographical situation at the time of his work.
Subject to change.
A reflexive scene
Austrian premiere
Muik by Manfred Trojahn
Text by Hugo von Hofmannsthal
CHRIST AT OILBERGE
Oratory (1803)
Music by Ludwig van Beethoven
Libretto by Franz Xaver Huber
Performance in German
Anxiety to the future: In the fictitious document Letter of Lord Chandos to Francis Bacon by Hugo von Hofmannsthal (1902), a hitherto successful young poet reports on the loss of his linguistic and thus of his poetic abilities. Doubts plague him, also regarding the medium of language in general. Hofmannsthal himself was looking for a new language after the turn of the century, for new ways of expressing his art. Based on this text, the renowned German composer Manfred Trojahn, who provided important contributions to music theater with Enrico or Orest, compiled a prologue to a staged performance of Beethoven's oratorio Christus am Ölberge. Hofmannsthal's text thematizes the artist crisis and thus also the creative background that Beethoven had in the constitution of his oratorio. His Heiligenstadt testament, written in October 1802, which was only found in his estate, reports of Beethoven's personal crisis. Here he lamented his progressive deafness, which he saw as humiliation and which excluded him from society. He even had thoughts of suicide. Right at the beginning of next year he started working as an opera composer at the Theater an der Wien. It was a difficult start, for Beethoven did not have much experience with vocal works in general, let alone operas. He was to write his first opera on Schikaneder's libretto Vestas Feuer. Since the oratorio is a genus related to the opera, the Christ was possibly a kind of practice for him - at least it is considered certain that his only third vocal work was written in a very short time in early 1803. The premiere took place in a musical academy on 5 April d.J. in the Theater an der Wien. It was one of Beethoven's first major works after his Heiligenstädter Testament. In the following years, he musically explored new paths, creating masterpieces, such as the Eroica. Hofmannsthal's text provides a new perspective on the oratorio as well as Beethoven's biographical situation at the time of his work.
Subject to change.
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