Beethoven 1770-1827, Berlioz 1803-1869

I call the time of Beethoven and Berlioz revolutionary for obvious reasons. Beethoven began composing in the sound world of Haydn but, partly inspired by the French Revolution, he turned that world on its head.  Berlioz, brought up on late French Classicism, leapt onto the Beethoven bandwagon as soon as he heard the symphonies being played in Paris for the first time, in the 1820s.

Both composers were explosively revolutionary, but both nevertheless kept much that was Classical. They inherited the whole Classical playing style, and were quite interested in music of the past:  for Beethoven that meant Bach,- J.S. but also C.P.E.; for Berlioz it meant Gluck.

It’s true that they both wanted to tread new paths. The Enlightenment had let in Light; Now Revolution let in Fear!

Nevertheless a lot of what I talked about with Haydn and Mozart is also relevant to these two composers.

Beethoven (born in 1770) is inescapably an 18th century man. Berlioz (born in1803) was a real child of the 19th century, but also in love with the past.

So let’s use our SIX SS’s to examine these Revolutionary  composers.

First all

BEETHOVEN S’s

S for SOURCES

The outstanding candidate is

Ludwig Spohr’s Violinschule, published in 1832.

Spohr was a highly successful violinist and composer, who knew Beethoven well.

He was famous for on-the-string style.

He suggested dots for Martelé,- ie on-the-string staccato, even at the point of the bow (think of the introduction to Beethoven 7).

He describes fast and slow vibrato (for soloists only). Must not be overdone.

A valuable source. Worth exploring. I believe he was one of the first to use a baton when conducting.

S for SIZE

The Vienna Opera had 8.8 violins.

But often there would have been fewer in many aristocratic palace concerts.

It was war-time. Beethoven hid from the noise as the French bombarded and invaded Vienna. So there were rather few public concerts.

But a few large-scale Charity Concerts for the war-wounded used many more strings, and then of course double wind.

As in the Classical period the balance between strings and wind is essential.

In Stuttgart I used double wind in all the bigger symphonies. (See Stuttgart Eroica on You Tube).

S for SEATING

There was by now a standard  division of violins, left and right. I prefer Celli next to Firsts; Violas next to Seconds. So did Toscanini, Boult,  and many others, before the mid-20th century shift.

Horns were usually to the left, Brass  to the right with timps.

Basses in a line across back.

You can see the layout, and the double winds in my You Tube videos of Beethoven 5 and 9 with the large NHK orchestra in Tokyo. And, of course, there you can hear Beethoven’s tempi too.

S for SOUND

Soloists used some vibrato, as a decoration (eg. on long notes, or stressed notes). Vibrato was already rare in the 18th century,  and was being used even less after 1800. In orchestras vibrato was not expected because it upset the warm unanimity of the group.

Several books on orchestral playing didn’t even mention vibrato!

S for SPEED

It’s easy: we have Beethoven’s own metronome marks. Just do what he asks. For a detailed examination of the subject have a look at my chapter called Beethoven Speeds.

By the way, all the relatively lively “Slow Movements” in Beethoven give yet another very valuable layer of scientific proof looking back at similar movements in Haydn and Mozart. His metronome markings show us what was absolutely typical in the late 1700s.

S for STYLE

You remember that Haydn and Mozart inherited traditions from the Baroque. Beethoven inherited his from the Classical. Therefore, though his music is new, much of his style remains like theirs. We need to consider him as primarily an 18th century composer.

Here are some typical examples:

Hierarchy of the bar

Phraseing (unwritten).  Gesture is essential.

Good and Bad notes

Rule of Down Bow

“Noble” and “Vile”

Note Lengths:

1. Plain

2. With Strokes

3. Portato (slur with dots)

On the string bowing was normal when not marked staccato.

Spohr apparently played everything  on the string.

I happen to prefer my staccato off the string.

Slurs still mean diminuendo

Dotted figures still to be played with separate bows.

Appoggiature (“leaning”), On the beat

Accacciature  (“crushed”) also On beat

Trills

Still begin on long upper note

Still lazy, but now a little faster perhaps.

(See my article on the Eroica)

BERLIOZ S’s

S for SOURCES

Baillot L’Art du Violon (1835)

The old 1806 tutor that he wrote with Rode and Kreutzer for the new Paris Conservatoire (the first in the world), he now considered inadequate.

Berlioz’ Fantastique shows a detailed knowledge of the book.

Baillot 1771-1842, was the same age as Beethoven.

Heard Viotti, met Haydn and Beethoven in Vienna.

he was the first to play Beethoven’s Violin Concerto in France (in 1828),

and only the third artist to play it at all.

Baillot taught at the Conservatoire for 47 years. He was a major influence on C19 playing style. Featuring the use of the new, long, Torte bow.

He admired Paganini as an innovator, but much distrusted his “effects”

HE WAS VERY TRADITIONAL.

THE Rule of Down Bow still evident (eg “Down, Down, Up”)

Martelè at POINT. for example in the opening of the Fantastique (marked “Punta d’Arco”)

And the on-string scales in eg first movt. development.

Appoggiaturas could still be half value of main note.

Feminine endings in diminuendo.

Down bows diminuendo.

Vibrato a decoration to be used “very sparingly”. It must NEVER BECOME A HABIT.

Lots on ornamentation and cadenzas at fermatas.

Notes should be like words in speech.

He offers Tables of Accents to give musical character.

Trills still usually start from note above.

Constant comparison with singing.

Phrasing. “If there are no dynamics the performer should add them”.

In many pages of detailed bowing instruction, off-the-string staccato is scarcely mentioned (as with Spohr).

Dotted Figures could still be with separate bows, but could also now be tied.

S for SIZE

Berlioz liked lots of strings: “Au moins” 15.15.10.11.9 in the Fantastique. But he often made do with fewer in his German tours.

Curiously he didn’t double the winds. Maybe because they were used more soloistically than Beethoven.

Also maybe because the concert hall stage he used had the winds very raised up and prominent.

S for SEATING

Berlioz’ violins sat in long lines facing each other like two armies.

(See Daniel Koury for details: “Orchestral Performance Practices in the NineteenthCentury, UMI Research Press”).

S for SOUND

Baillot warns against misused vibrato.

In any case soloists might, but orchestras didn’t, use it.

S for SPEED

Berlioz was a great believer in the metronome, and apparently a brilliant conductor. I take his marks very seriously.

S for STYLE

Much of what I listed for Beethoven still applies. But what Beethoven fought for, Berlioz takes for granted. His is an impressive leap forward. He writes in considerably more expressive detail. We are really in the Romantic era now. The air is freer, and Berlioz felt he could do what he liked.

Yet importantly Berlioz is still a very Classical composer. He was brought up on Classical writings and  entranced by Virgil. He was highly literate and very well educated.

He had a scientist’s mind for tempi, and for the technical details of instruments. These he set out in his Grand Traité.

(See my article on the Fantastique)