{"id":29285,"date":"2020-10-02T00:00:00","date_gmt":"2020-10-01T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/allgemein\/2020\/10\/ouverture-la-consecration-de-la-maison"},"modified":"2023-01-20T14:46:54","modified_gmt":"2023-01-20T13:46:54","slug":"ouverture-la-consecration-de-la-maison","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/en\/dossiers\/2020\/10\/ouverture-la-consecration-de-la-maison","title":{"rendered":"Overture \"The Consecration of the House"},"content":{"rendered":"<figure style=\"width: 1200px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\"size-full\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Auge-rechts.jpg\" alt=\"\" \/><figcaption class=\"wp-caption-text\">Extrait du portrait de Beethoven par Joseph Karl Stieler, ca. 1820<\/figcaption><\/figure>\n<div class='text-section'>\n<p>Ce n\u2019est pas seulement depuis la fin du 20e si\u00e8cle que des th\u00e9\u00e2tres, des salles de concert et des op\u00e9ras sont construits ou r\u00e9nov\u00e9s. C\u2019est ainsi que l\u2019ancien th\u00e9\u00e2tre Josefstadt de Vienne, devenu trop petit au d\u00e9but du 19e si\u00e8cle, a \u00e9t\u00e9 d\u00e9moli et remplac\u00e9 en 1822 par un nouveau b\u00e2timent qui existe encore aujourd\u2019hui et qui a \u00e9t\u00e9 agrandi entre-temps. Pour f\u00eater son inauguration le 3 octobre 1822, Carl Meisl (1773-1853) a cr\u00e9\u00e9 une pi\u00e8ce de th\u00e9\u00e2tre, d\u00e9crite dans son \u00e9dition imprim\u00e9e comme une \u00ab \u0153uvre de circonstance \u00bb. Beethoven l\u2019a mise en musique en reprenant des passages de sa partition pour <em>Les Ruines d\u2019Ath\u00e8nes<\/em> op. 113 (1811) auxquels, \u00e0 la demande du directeur du th\u00e9\u00e2tre Karl Friedrich Hensler (1759-1825), il a ajout\u00e9 une nouvelle ouverture. Il a \u00e9galement occup\u00e9 le podium lors de la premi\u00e8re \u2013 la question reste ouverte de savoir s\u2019il a vraiment dirig\u00e9, selon un compte-rendu de l\u2019<em>Allgemeine musikalische Zeitung<\/em> de Leipzig : \u00ab Le ma\u00eetre a dirig\u00e9 lui-m\u00eame ; cependant, comme il ne pouvait pas faire confiance \u00e0 ses capacit\u00e9s auditives malheureusement encore affaiblies, le ma\u00eetre de chapelle [Franz Joseph] Gl\u00e4ser [1798-1861] \u00e9tait \u00e0 ses c\u00f4t\u00e9s pour transmettre ses instructions \u00e0 l\u2019orchestre, lui aussi nouvellement cr\u00e9\u00e9. Etrangement, les deux battaient la mesure d\u2019une mani\u00e8re parfois tr\u00e8s diff\u00e9rente. N\u00e9anmoins, tout s\u2019est d\u00e9roul\u00e9 de mani\u00e8re tr\u00e8s heureuse \u00bb.<\/p>\n<p>L\u2019ouverture a \u00e9galement \u00e9t\u00e9 jou\u00e9e le 4 ao\u00fbt 1824 lors de l\u2019inauguration du Th\u00e9\u00e2tre de K\u00f6nigstadt \u00e0 Berlin ; Carl Wilhelm Henning avait acquis une copie de l\u2019\u0153uvre de Beethoven lors d\u2019une visite \u00e0 Vienne. La composition, qui reprend de mani\u00e8re bien audible des id\u00e9es musicales de Haendel, semble faite pour de telles occasions. Mais il y a eu \u00e0 ce moment-l\u00e0 un malentendu : alors que Beethoven supposait qu\u2019elle serait jou\u00e9e une seule fois, Henning pensait avoir acquis l\u2019\u0153uvre dans son ensemble, et il en publia une r\u00e9duction pour piano \u00e0 quatre mains \u00e0 la fin 1824. Beethoven s\u2019en est agac\u00e9 et, sur un exemplaire, a exprim\u00e9 son m\u00e9contentement en le d\u00e9crivant comme \u00ab mutil\u00e9 \u00bb. Une demande d\u2019arr\u00eat des ventes de cette \u00e9dition n\u2019ayant pas \u00e9t\u00e9 respect\u00e9e \u00e0 Berlin, Beethoven et son \u00e9diteur sont pass\u00e9s \u00e0 l\u2019offensive avec un \u00ab avertissement \u00bb et ont publi\u00e9 \u00e0 plusieurs reprises une correction : \u00ab Je consid\u00e8re qu\u2019il est de mon devoir de pr\u00e9venir le public musical qu\u2019il existe une fausse et incompl\u00e8te r\u00e9duction pour piano \u00e0 4 mains de ma derni\u00e8re Ouverture, publi\u00e9e aux \u00e9ditions Trautwein \u00e0 Berlin sous le titre : Festouverture par L. v. B., d\u2019autant plus que des r\u00e9ductions pour piano \u00e0 2 et 4 mains, r\u00e9dig\u00e9s par M. Carl Czerny et tout \u00e0 fait fid\u00e8les \u00e0 la partition originale, para\u00eetront bient\u00f4t dans la seule \u00e9dition l\u00e9gitime, chez B. Schott\u2019s S\u00f6hne \u00e0 Mayence \u00bb. \u2013 Un d\u00e9menti qui est encore remarquable aujourd\u2019hui, et qui souligne \u00e9galement l\u2019extraordinaire qualit\u00e9 de la composition : le fait qu\u2019ils se disputaient publiquement montre que les \u00e9diteurs esp\u00e9raient tirer des ventes un b\u00e9n\u00e9fice consid\u00e9rable. <\/p>\n<\/p><\/div>\n<div>\n<hr>\n<\/div>\n<div>\n<blockquote class='text-section'>\n<h4>Aufnahme auf idagio<\/h4>\n<p><iframe src='https:\/\/app.idagio.com\/player?playlist_id=18f07e4d-135f-4c95-ad85-f663b78a259b' allowfullscreen='allowfullscreen' width='500' height='400' frameborder='0'><\/iframe><\/p>\n<\/blockquote><\/div>\n<div>\n<hr>\n<\/div>\n<div>\n<h3 class=''><span>Rester en contact<\/span><\/h3>\n<\/p><\/div>\n<div class='text-section'>\n<p>Une newsletter hebdomadaire l\u00e8ve le voile sur la derni\u00e8re chronique en ligne. Vous pouvez vous y abonner en indiquant votre adresse mail ci-dessous, ou en souscrivant \u00e0 notre flux RSS.<\/p>\n<\/p><\/div>\n<div class='text-section'>\n<div>\n<form class='js-cm-form' id='subForm' action='https:\/\/www.createsend.com\/t\/subscribeerror?description=' method='post' data-id='2BE4EF332AA2E32596E38B640E9056195C8888A8A23FD435BFB231E3012E1A71B68DA21970BF006750C89679CDF0BA5DC06285F34917F5B2B1B67E660081075D'>\n<fieldset style='border-top:0;'>\n<div class='control-group'><label for='fieldEmail'><span>E-Mail <dfn title='required'>*<\/dfn><\/span><\/label><input autocomplete='Email' aria-label='E-Mail' class='js-cm-email-input' id='fieldEmail' maxlength='200' name='cm-giydtu-giydtu' placeholder='E-Mail' required='' type='email' data-kpxc-id='fieldEmail'><select style='display:none;' aria-label='language' id='fieldyuaqu' name='cm-fo-yuaqu' required='' value=''><option disabled='' selected='' value=''>Select&#8230;<\/option><option value='2605472'>de<\/option><option value='2605473' selected='selected'>fr<\/option><\/select><\/div>\n<p> <button type='submit'>s&rsquo;inscrire<\/button><\/fieldset>\n<\/p><\/form>\n<\/p><\/div>\n<p> <script type='text\/javascript' src='https:\/\/js.createsend1.com\/javascript\/copypastesubscribeformlogic.js'><\/script> <\/div>\n<div class='rss left'> <em> <a href='\/contentFeeds\/content\/news\/fr\/dossiers\/personnes\/2020\/52xbeethoven' target='_blank' rel=\"noopener\">RSS-Feed<\/a> <\/em> <\/div>\n<div>\n<hr>\n<\/div>\n<div>\n<h3 class=''><span>Participez \u00e0 ce projet !<\/span><\/h3>\n<\/p><\/div>\n<div class='text-section'>\n<p><a href='\/fr\/dossiers\/personnes\/2020\/52xbeethoven.html'><strong>Lien vers la page principale du projet \u00ab 52 x Beethoven \u00bb<\/strong><\/a><\/p>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p><strong>Every Friday, Beethoven is here. To mark the 250th anniversary of Beethoven's birth, each week the Swiss Music Review takes a look at a different work from its catalog. Today, for the overture \"The Consecration of the House\". <\/strong><\/p>","protected":false},"author":1,"featured_media":29286,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1638,1639],"tags":[],"class_list":["post-29285","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dossiers","category-personnes"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Ouverture \u00ab\u00a0La Cons\u00e9cration de la maison\u00a0\u00bb - Revue Musicale Suisse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revuemusicale.ch\/en\/allgemein\/2020\/10\/ouverture-la-consecration-de-la-maison\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ouverture \u00ab\u00a0La Cons\u00e9cration de la maison\u00a0\u00bb - Revue Musicale Suisse\" \/>\n<meta property=\"og:description\" content=\"Chacque vendredi, Beethoven est ici. Pour le 250e anniversaire de la naissance de Beethoven, la Revue Musicale Suisse jettera chaque semaine un \u0153il sur une \u0153uvre diff\u00e9rente de son catalogue. 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