In 1811, Beethoven was commissioned to write two pieces for the opening of a new imperial theater in the city then called Pest, now part of Budapest. He responded with “King Stephen” and “The Ruins of Athens,” which he quickly composed during the summer of 1811 while in Teplitz.
The librettos of “King Stephen” and “The Ruins of Athens” were both by August Kotzebue, a German playwright and historian who also had a colorful political career and was assassinated in 1819. At one point, Beethoven wanted him to write a libretto for an opera about Atilla.
Maynard Solomon says of the two Hungarian commissions,
Beethoven did not have his heart in these compositions, which clearly were done as hackwork to gratify a royal patron. (Beethoven, p. 273)
Jan Swafford says that the Hungarian commissions were
not so far from hackwork, written to please, in keeping with the Hungarian chauvinism of the plays. This theater music presaged a coming period of occasional pieces Beethoven turned out for the money. (Beethoven, p. 575)
William Kinderman says of the two Hungarian commissions,
Much of this stage music is hackwork far beneath the level of his other compositions. (Beethoven, p. 172).
Regardless, we can still hear Beethoven in this music.
Beethoven’s “King Stephen” was intended to appeal to the patriotic sentiments of the Hungarians with its portrayal of the first king of Hungary (and the country’s patron saint), who reigned in the first few decades of the 11th century.
“King Stephen” contains choruses, spoken narration, and spoken dialogues, making this really a short (~45’) play with music. Naxos has graciously made available the complete German libretto with English translation available. Click the words “Sung Text” for a PDF.
In “King Stephen,” Stephen gathers the Hungarian nobles to his throne to celebrate their military victories and forgive their enemies. The pious Gisela comes to be his wife. As he takes the crown, he has a vision of the new age of Hungary.
#Beethoven250 Day 248
King Stephen (Opus 117), 1811
Even recordings of the complete “King Stephen” are rare. This one is quite unusual in that it includes the spoken parts, adding about 10 minutes to the length.
Barry Cooper wisely avoids words like “hackwork.” He says of “King Stephen” that Beethoven
was sensitive to the needs of the Hungarian audience, and music that was intellectually or emotionally challenging would have been quite out of place here. (Beethoven, p. 221)
#Beethoven250 Day 248
King Stephen Overture (Opus 117, Overture), 1811
The overture is the only part of “King Stephen” that remains part of the semi-common concert repertoire. This appears to be a recording session.