Another representation of the
almost forgotten Fidelio, which was selected by Fraeulein
Schroeder-Devrient for her benefit, and which was a pronounced success
through the genius of this remarkable woman, led to a commission for a
new opera from a Vienna manager. This was followed shortly after by a
similar order from Berlin on his own terms. There had also been some
talk before this about an opera on an American subject, the Founding of
Pennsylvania. It was suggested by a minor poet and government official,
Johann Ruprecht, whose poem, Merkenstein, Beethoven had set to music
previous to 1816. In 1820 Beethoven had planned an Italian tour and had
intended taking Ruprecht with him. They must have quarrelled later, as
in a letter to Schindler in 1823 Beethoven refers to Ruprecht in the
most abusive terms.
A commission that must have gratified Beethoven exceedingly, but which,
however, was not acted upon, was that which emanated from Breitkopf and
Haertel, who sent the famous critic Friederich Rochlitz to Vienna in
July, 1822, with a proposition that he write some Faust music in the
style of the Egmont music.
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