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On today’s date in 1801, the world — or at least that portion of it seated in the Imperial Court Theater in Vienna — heard a new ballet for the first time. The real draw that evening was the prima ballerina of the company, a certain Fraulein Cassentini.
The music was by young, emerging composer Ludwig van Beethoven, and his ballet was called The Creatures of Prometheus. The creatures referred to in the title are two stone statues that are brought to life by Prometheus, the legendary Greek figure who stole fire from the gods and gave it to mankind.
Beethoven’s commission came from Italian dancer Salvatore Vigano, who had been working in Vienna since 1793, and was — like Beethoven — seeking the attention and possible patronage of the culture-loving Austrian Empress Maria Theresa.
Although Beethoven’s ballet was performed 14 times the first season, and nine more the next, it was never published in his lifetime. Beethoven was evidentially pleased with at least one of its themes, a tune he recycled twice: first in the finale of his mammoth Eroica and again in 15 Variations for Solo Piano.
Ludwig van Beethoven (1770-1827): The Creatures of Prometheus; Orpheus Chamber Orchestra; DG 453 713
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On today’s date in 1801, the world — or at least that portion of it seated in the Imperial Court Theater in Vienna — heard a new ballet for the first time. The real draw that evening was the prima ballerina of the company, a certain Fraulein Cassentini.
The music was by young, emerging composer Ludwig van Beethoven, and his ballet was called The Creatures of Prometheus. The creatures referred to in the title are two stone statues that are brought to life by Prometheus, the legendary Greek figure who stole fire from the gods and gave it to mankind.
Beethoven’s commission came from Italian dancer Salvatore Vigano, who had been working in Vienna since 1793, and was — like Beethoven — seeking the attention and possible patronage of the culture-loving Austrian Empress Maria Theresa.
Although Beethoven’s ballet was performed 14 times the first season, and nine more the next, it was never published in his lifetime. Beethoven was evidentially pleased with at least one of its themes, a tune he recycled twice: first in the finale of his mammoth Eroica and again in 15 Variations for Solo Piano.
Ludwig van Beethoven (1770-1827): The Creatures of Prometheus; Orpheus Chamber Orchestra; DG 453 713
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