Recently, I had an opportunity to attend a formal recital at the Abington Friends
School. Students of the school�s musical department performed various classical pieces. I
will focus on �Fur Elise� by Ludwig van Beethoven, because I was most drawn to that
piece as it was performed that evening.
Beethoven, who studied piano performances and compositions with the greatest
composers of his time (Mozart, Haydn, Salieri, just to name just three) wrote this piece for
piano solo, in 1810, dedicating it to a love interest. Written in �A-B-A-C-A� form, �Fur
Elise� is a short, engaging, romantic melody played with expressione, flowing through the
mind with an elegance and ease, unlike other classical pieces of that era. It is light and
beautiful with playful interludes, and light drama. The longer dolce legato of the A section
moves to the B portion of the piece with presto and mezza forte, showing gusto at its
peak, changing tempo, to allegretto, beautifully ascending, then moving back to the adiago
of A with incredible melt and playful interaction between the right and left hands, changing
tempo so quickly that the listener is pulled through this piece with incredible interest and
delight. As quickly as B returned to A, section C interposes with grave interlude, and
after two almost undetectable fermata, there is crescendo to a slightly ascending then
cascading scale, cadence, and returning with adiagio to the familiar luring A melody,
becoming ritardando, then diminuendo, closing the piece.
Beethoven shows his exceptionally brilliant talent and expressiveness in this short
melody. He seems to play with the notes in a simplistic scholarly fashion, but one is
quickly reminded of the masterful control of this composer, not only over the melody and
the instrument, but over the emotions elicited by the music he composes. He does this
with his changing tempo, accelerando, accent, and intricate arpeggio between right and
left hands on the piano. The whimsical yet brilliant melody is truly indelible. The piano
steps up the legato pace of A to vivace of B then taunting the listener with the yearning
melody of A again ever so sweet, then unpredictably removing all security of the familiar
by the intensity of movement C. The tempo at the close of the piece is ritardando, and the
melody diminishes quietly, almost effortlessly, with little satisfaction, almost a yearning to
return to the relive the experience. The theme is unmistakably a passionate piece,
reflecting an infatuation with the music that will never end.
The pianist was able to convey the composers thoughts with amazing clarity and
spark, even for his young age, further giving testament to the composer to reach a broad
spectrum of listeners. The fingered melodies were without flaw and wonderfully accented.
The piece was filled with emotion, flowing magically throughout the room. I was amazed
at the command of the audience held by the performance, and the sheer delight in the
applause and reaction in the small auditorium. Beethoven�s �Fur Elise� was truly the
favored piece of the evening.
I admire the talent of the student performer, and reflecting on this experience, I
must say that I am now, and forever will be grateful to have experienced the masterfully
composed music of a legend. �Fur Elise� expresses incredible detail in form and
composition. Great music, written at certain times and for special reasons, is a lasting
tribute to our senses and to history. What touched me the most about �Fur Elise� is the
romance. Inscribed on the original score is the sentiment, �For Elise, on April 27, 1810 as
a momento of Ludwig van Beethoven.� As history reads, the incredibly haunting melody
was written for Therese Malfatti, daughter of Beethoven�s personal physician, and a
former love interest of Beethoven. Considering the intricate beauty and unsettling playful
demeanor of the melody, I would like to know more about Elise. The tribute paid her by
this greatest of composers wills me to think of the person it was written about. Love
songs, particularly, are a favorite of mine, and judging by the popularity and longevity of
this piece, I am not alone. It is easy to understand why Beethoven is so popular, and
praised in his own era. It is also most difficult to understand why someone blessed with
this enormous talent would be challenged by a slow but total loss of hearing, never to hear
the sound of his own compositions, except in his mind. Perhaps hat was all he needed --
becoming more reclusive, he continued to compose -- a further testament to his
greatness.