Christus am Ölberge (in English, Christ on the Mount of Olives), Op. 85, is an oratorio by Ludwig van Beethoven portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. It was begun in the fall of 1802, soon after his completion of the Heiligenstadt Testament, as indicated by evidence in the Wielhorsky sketchbook. The libretto in German is by the poet Franz Xaver Huber [de], editor of the Wiener Zeitung, with whom Beethoven worked closely. It was written in a very short period; in a letter to Breitkopf & Härtel written shortly after the oratorio's completion, Beethoven spoke of having written it in "a few weeks", although he later claimed that the piece required no more than 14 days to complete.[1] It was first performed on April 5, 1803 at the Theater an der Wien in Vienna;[2] in 1811, it was revised by Beethoven for publication by Breitkopf & Härtel.[3] The 10 years that passed between the composition of the work and its publication resulted in its being assigned a relatively high opus number. The piece premiered in the United States in 1809; it was Beethoven's first success in the United States.[citation needed]
The work is a dramatic oratorio and is considered a much more humanistic portrayal of the Christpassion[4] than other settings, such as those by Bach. It concludes at the point of Jesus personally accepting his fate, placing the emphasis on his own decision rather than the later Crucifixion or Resurrection. The oratorio is scored for soprano, tenor, and bass soloists, with standard SATBchorus and symphony orchestra. The tenor sings as Jesus, with the soprano as a seraph (angel) and the bass as Peter. A complete performance lasts approximately 50 minutes.
Beethoven's only oratorio, he was quite critical of the piece and of the performance of the orchestra and chorus at its premiere. He panned Huber's libretto, saying, in an 1824 letter to the Gesellschaft für Musikfreunde, "Let us leave out of consideration the value of poems of this sort. We all know that allowances are to be made... so far as I am concerned, I would rather set Homer, Klopstock, Schiller to music. If they offer difficulties to overcome, these immortal poets at least are worthy of it."[5] (Beethoven eventually did set Schiller to music in his monumental Ninth Symphony, nearly twenty years after the oratorio.) The editors at Breitkopf & Härtel agreed with Beethoven's critical assessment of the text,[6] and Christian Schreiber was enlisted to make massive changes to the libretto.[citation needed] However, upon reviewing the changes, Beethoven still was not happy, saying, "I know that the text is extremely bad, but if even a bad text is conceived as a whole entity, it is very difficult to avoid disrupting it by individual corrections".[citation needed]
Structureedit
The composition consists of six movements.
1. Introduction (Grave – Adagio) in E♭ minor – Recitative „Jehova, du, mein Vater!“ – Aria (Allegro) „Meine Seele ist erschüttert!“ in c minor
2. Recitative „Erzittre, Erde, Jehovahs Sohn liegt hier“ in A major – Aria (Larghetto) „Preist des Erlösers Güte“ in G major – Chorus (Allegro) „Oh, Heil euch, ihr Erlösten!“ in G major
3. Recitative „Verkündet, Seraph, mir dein Mund“ – Duet (Adagio molto) „So ruhe denn mit ganzer Schwere“ in A♭ major
4. Recitative „Willkommen, Tod!“ in F major – Chorus (Alla marcia) „Wir haben ihn gesehen“ in C major
5. Recitative (Tempo della Marcia) „Die mich zu fangen ausgezogen sind“ – Chorus (Allegro molto) „Hier ist er, hier ist er“ in D major
6. Recitative (Molto allegro) „Nicht ungestraft soll der Verwegnen Schar“ – Trio and chorus (Allegro ma non troppo) „In meinen Adern wühlen“ in B♭ major – Final chorus (Maestoso – Allegro) „Welten singen“ - „Preiset ihn, ihr Engelschöre“ in C major
The soloists are personas: the soprano is a Seraph, the tenor is Jesus and the bass is the apostle Peter.
Receptionedit
The critical response to the work's initial performance was mixed; while the Zeitung für die Elegante Welt's critic wrote that the oratorio contained "a few admirable passages", a review in the Freymüthige Blätter called the piece "too artificial in structure and lacking expressiveness, especially in the vocal music", and claimed that the performance "was unable to achieve really marked approbation".[7] It has since drifted somewhat into obscurity, and is rarely performed, being regarded by some as falling below Beethoven's usual standards of excellence.[citation needed] However, despite conflicting contemporary critical reports and Beethoven's own misgivings about the libretto, "...after its premiere in 1803 the work was performed four times in 1804, and repeated every year, always drawing full houses, until it was banned in 1825 by the Hofmusikgraf."[8][better source needed]
The "Welten singen..." finale chorus has enjoyed some popularity on its own, usually being rendered as a "Hallelujah", frequently performed by church, high school, and college choirs.[citation needed]
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This article needs additional citations for verification Please help improve this article by adding citations to reliable sources in this article Unsourced material may be challenged and removed Find sources Christ on the Mount of Olives Beethoven news newspapers books scholar JSTOR November 2011 Learn how and when to remove this template message Christus am Olberge in English Christ on the Mount of Olives Op 85 is an oratorio by Ludwig van Beethoven portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion It was begun in the fall of 1802 soon after his completion of the Heiligenstadt Testament as indicated by evidence in the Wielhorsky sketchbook The libretto in German is by the poet Franz Xaver Huber de editor of the Wiener Zeitung with whom Beethoven worked closely It was written in a very short period in a letter to Breitkopf amp Hartel written shortly after the oratorio s completion Beethoven spoke of having written it in a few weeks although he later claimed that the piece required no more than 14 days to complete 1 It was first performed on April 5 1803 at the Theater an der Wien in Vienna 2 in 1811 it was revised by Beethoven for publication by Breitkopf amp Hartel 3 The 10 years that passed between the composition of the work and its publication resulted in its being assigned a relatively high opus number The piece premiered in the United States in 1809 it was Beethoven s first success in the United States citation needed Contents 1 Composition 2 Structure 3 Instrumentation 4 Reception 5 Recordings 6 Notes 7 External linksComposition editThe work is a dramatic oratorio and is considered a much more humanistic portrayal of the Christ passion 4 than other settings such as those by Bach It concludes at the point of Jesus personally accepting his fate placing the emphasis on his own decision rather than the later Crucifixion or Resurrection The oratorio is scored for soprano tenor and bass soloists with standard SATB chorus and symphony orchestra The tenor sings as Jesus with the soprano as a seraph angel and the bass as Peter A complete performance lasts approximately 50 minutes Beethoven s only oratorio he was quite critical of the piece and of the performance of the orchestra and chorus at its premiere He panned Huber s libretto saying in an 1824 letter to the Gesellschaft fur Musikfreunde Let us leave out of consideration the value of poems of this sort We all know that allowances are to be made so far as I am concerned I would rather set Homer Klopstock Schiller to music If they offer difficulties to overcome these immortal poets at least are worthy of it 5 Beethoven eventually did set Schiller to music in his monumental Ninth Symphony nearly twenty years after the oratorio The editors at Breitkopf amp Hartel agreed with Beethoven s critical assessment of the text 6 and Christian Schreiber was enlisted to make massive changes to the libretto citation needed However upon reviewing the changes Beethoven still was not happy saying I know that the text is extremely bad but if even a bad text is conceived as a whole entity it is very difficult to avoid disrupting it by individual corrections citation needed Structure editThe composition consists of six movements 1 Introduction Grave Adagio in E minor Recitative Jehova du mein Vater Aria Allegro Meine Seele ist erschuttert in c minor 2 Recitative Erzittre Erde Jehovahs Sohn liegt hier in A major Aria Larghetto Preist des Erlosers Gute in G major Chorus Allegro Oh Heil euch ihr Erlosten in G major 3 Recitative Verkundet Seraph mir dein Mund Duet Adagio molto So ruhe denn mit ganzer Schwere in A major 4 Recitative Willkommen Tod in F major Chorus Alla marcia Wir haben ihn gesehen in C major 5 Recitative Tempo della Marcia Die mich zu fangen ausgezogen sind Chorus Allegro molto Hier ist er hier ist er in D major 6 Recitative Molto allegro Nicht ungestraft soll der Verwegnen Schar Trio and chorus Allegro ma non troppo In meinen Adern wuhlen in B major Final chorus Maestoso Allegro Welten singen Preiset ihn ihr Engelschore in C majorInstrumentation editSATB choir 3 soloists soprano tenor and bass 2 flutes 2 oboes 2 clarinets in B 2 bassoons 2 trumpets in D and E 2 horns in B C D and E 3 trombones alto tenor and bass timpani 1st violins 2nd violins violas cellos double bassesThe soloists are personas the soprano is a Seraph the tenor is Jesus and the bass is the apostle Peter Reception editThe critical response to the work s initial performance was mixed while the Zeitung fur die Elegante Welt s critic wrote that the oratorio contained a few admirable passages a review in the Freymuthige Blatter called the piece too artificial in structure and lacking expressiveness especially in the vocal music and claimed that the performance was unable to achieve really marked approbation 7 It has since drifted somewhat into obscurity and is rarely performed being regarded by some as falling below Beethoven s usual standards of excellence citation needed However despite conflicting contemporary critical reports and Beethoven s own misgivings about the libretto after its premiere in 1803 the work was performed four times in 1804 and repeated every year always drawing full houses until it was banned in 1825 by the Hofmusikgraf 8 better source needed The Welten singen finale chorus has enjoyed some popularity on its own usually being rendered as a Hallelujah frequently performed by church high school and college choirs citation needed Recordings editYear Soloists Jesus Seraph Peter Conductor Orchestra and Chorus Label1957 Fritz Wunderlich Erna Spoorenberg Hermann Schey Henk Spruit Radio Philharmonisch Orkest and Groot Omroepkoor BellaVoce1962 Jan Peerce Maria Stader Otto Wiener Hermann Scherchen Vienna State Opera Orchestra and Vienna Academy Chorus Westminster1963 Reinhold Barthel Liselotte Rebmann August Messthaler Josef Bloser Stuttgart Philharmonic and the South German Choral Society Vox Turnaboutc 1964 Richard Lewis Judith Raskin Herbert Beattie Eugene Ormandy Philadelphia Orchestra and the Temple University Choirs Columbia Masterworksc 1965 Radko Delorco Margit Opawsky Walter Berry Henry Swoboda Vienna State Opera Orchestra and Vienna Academy Chorus Concert Hall Society1970 Nicolai Gedda Cristina Deutekom Hans Sotin Volker Wangenheim Orchester der Beethovenhalle Bonn and choirs EMI1970 James King Elizabeth Harwood Franz Crass Bernhard KleeVienna Symphony and Wiener Singverein Deutsche Grammophon1970 Jozsef Reti de Sylvia Geszty Hermann Christian Polster Helmut KochBerliner Rundfunk Sinfonie Orchester Eterna1992 James Anderson Monica Pick Hieronimi Victor van Halem Serge BaudoOrchestre National de Lyon with chorus Harmonia Mundi1994 Michael Brodard Maria Venuti Keith Lewis Helmuth RillingBach Collegium Stuttgart and Gachinger Kantorei Hanssler Classic 9 2000 Steve Davislim Simone Kermes Eike Wilm Schulte Christoph SperingDas Neue Orchester and Chorus Musicus Koln Opus 1112004 Placido Domingo Ľuba Orgonasova Andreas Schmidt Kent NaganoDeutsches Symphonie Orchester Berlin and Rundfunkchor Berlin Harmonia Mundi2020 Pavol Breslik Elsa Dreisig David Soar Simon RattleLondon Symphony Orchestra and Chorus LSO LiveNotes edit Forbes Elliot ed Thayer s Life of Beethoven Princeton University Press 1967 p 328 Forbes 1967 p 328 Forbes 1967 p 521 Calvin Stapert Images of Christ in Post Enlightenment Oratorios in The Oxford Handbook of Christology Oxford OUP 2015 p 465 Forbes 1967 p 885 Forbes 1967 p 886 Forbes 1967 p 330 Fred Haight Fidelio Volume VII No 3 Fall 1998 Beethoven s Christ on the Mount of Olives Gethsemane as Schiller Would Treat It Ludwig van Beethoven Christus Am Olberge Christ on the Mountain of Olives 2007 CD Discogs 2007 External links editChristus am Olberge Scores at the International Music Score Library Project German libretto of Christus am Olberge Portal nbsp Classical music Retrieved from https en wikipedia org w index php title Christ on the Mount of Olives Beethoven amp oldid 1215567142, wikipedia, wiki, book, books, library,
