Presents
Rudolf Archduke of Austria
Septet in e minor for Violin, Viola, Cello, Bass, Clarinet, Horn & Bassoon
Rudolf von Habsburg (1788-1831), Archduke of Austria, is remembered today primarily as a friend and patron of Beethoven. It was Rudolf along with the Princes Lobkowitz and Kinsky who helped to keep Beethoven in Vienna by offering him an annual stipendium. Rudolf studied piano and composition with Beethoven between 1805 and 1812 and then off and on for another decade. Although an aristocrat and subsequently a cardinal, Rudolf was a fairly talented composer. Beethoven took considerable time and trouble over Rudolf's manuscripts, something he would not have done had he not felt them to be worthwhile.
Whether Rudolf was the composer of the Septet in e minor, the manuscripts to which reside in the Austrian State Library in Vienna (Österreichische Nationalbibliothek, Wien) remains an open question. Many sections of the undated manuscript of the score are crossed out and on the final page the words "Errare humanum est, 1850." (it is human to err) appear. The fact that 1850 was 19 years after Rudolf’s death has led some musicologists to reject the idea that Rudolf composed this work. Furthermore, it is not clear who discovered it and when it was discovered. As far as we know, the Septet was never performed during Rudolf’s lifetime. It has, however, been performed in the 20th and 21st centuries, probably being played off copies made from the manuscript set of the parts. Eventually, it attracted the attention of the German clarinetist Dieter Klocker who along with fellow musicians recorded it. Although debated by some musicologists as to whether Rudolf was the composer, the general consensus seems to be that the Septet was composed by Rudolf in 1830 shortly before his death.
The Septet in e minor calls for the same instrumentation as Beethoven’s although the overall key is different. While the order or number of the movements is not identical, the general idea of creating serenade is similar. The work opens with a wistful Allegretto which is filled with lovely appealing themes. It is the longest movement of the work and is followed by a lovely, tender Adagio. In third place is a Marciale, a heavy, somewhat plodding military march. Like Beethoven, Rudolf places a Theme and Variations next. After a short introduction, the horn introduces the theme upon which the variations are based. The finale is a lively Vivace.
Parts: $44.95
Parts & Score: $69.95
