w17571
| Title | Beethoven's Grandfather : Opera for 9 Unaccompanied Singers |
| Contributors |
Derek Ball (composer) Derek Ball (author) |
| Composition date | 2008 |
| Duration (mins) | 20 |
| Category | opera theatre unaccompanied |
| Instrumentation | S M-S T 5B-Bar B |
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| First performed | |
| Notes | |
| Programme Note | The sudden powerful stimulus which initiated this short opera was reading a (very possibly erroneous) genealogy of Beethoven which referred to Maria Josepha Poll, Beethoven's grandmother, calling her "Maria Josepha Ball". My wife's first name is Marie, and my automatic thought was "I'm Beethoven's grandfather"! I think it's entirely reasonable to suppose that mayhem would ensue after such a revelation, and that's exactly what happens here. I wrote the libretto not quite at the same time as the music, but not far ahead of it. Lovers of Beethoven will be relieved to know that the musical style of the piece owes nothing at all to their hero. Whether from wisdom or timidity I have steered well clear of direct reference to his music, even where the opening words of the famous Ode to Joy are quoted, and there is very little mention of the great man himself. I concentrate rather on the beet-fields (beethoven?) of Holland and on the fondness for alcohol which historically seems to have been endemic in the Beethoven family. The absence of any instrumental accompaniment is another of the various bizarre features of the piece, but it is consistent with the approach I have taken to vocal writing in all my previous operas, where an observant reader will note that I almost always keep the voices at the forefront of the texture, and purely instrumental interludes are rare. It is but a small step from that to a situation where all variety of tone colour and texture is dependent on the human voice alone. The story contains a musical structural idea in that it has characters coming on stage far more often than leaving, so that the density and complexity progressively increase. The unusually large number of soloists may seem extravagant, but to my mind the absence of instruments goes some way to justify it. (The remaining justification is divided equally between dramatic necessity and my own eccentricity!) Acknowledgement: For decisive advice on the ending of the opera, I am indebted - as on so many previous occasions - to one of the members of my small select group of cherished librettists, John Mitchell. Disclaimer: No Beethoven represented in this opera is based on any real Beethove, living or dead. |
This work is associated with the following collection items:
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