Svengallop scowled as he looked at the news article that might have been the thousandth time since they got on the train. It was something that he hoped would never see in the past couple of months, yet, there in black and white was the very cause of his disappointment and his client’s excitement.
Beethoven’s Fortunes Turned Around
After the failure of the experimental quartet piece a couple months ago, the composer, Ludwig van Beethoven has seemed to have regained his status in the musical world through his choral work. A mysterious but stunningly beautiful work, “The Missa Solemnis,” has reminded us why we love Beethoven’s music.
The hour-long piece was performed in Vanhoover, to which has since been given positive reviews from critics and audiences – and for good reasons. While the enter thing is sung in a language called Latin, the melodies, complex fugues, and the stunning violin solo near the end were just enough to gain the Giant’s reputation back. While the actual translation is still cryptic, it does work to its favor in giving the music a sense of mysterious grandeur from another world. The violin solo near the end is probably the most memorable because of how heart-breakingly beautiful it is, probably setting a new benchmark for serious violinists to come.
Since the Missa Solemnis was a hit, the Canterlot Philharmonic and the Canterlot Opera Company have scheduled to play in the Crystal Empire to premiere a new choral piece for orchestra and piano; a tragic overture; and the composer’s Eighth Symphony. This next concert will be held after the Equestrian Games at the newly built “Illumination Opera House.”
It is also reported that Beethoven is seeking to increase the size of the choir while at the Empire to rehearse for his Ninth Symphony.
“Aren’t you excited Sven?” the manager looked up to his client. They were in a specially made private train car that was designed for these long trips. Sprinkled in luxury and comfort, the car was heated to combat the falling snow outside.
The Countess’s manager set his newspaper aside. “To a degree,” he simply said.
“I can’t wait,” the Singer beamed, “I’m so glad for Beethoven to come back on top again. Did you hear that violin solo?”
“I have Countess,” he propped his head with a hoof, his eye looking out the window to the waltzing snow, “Though I consider it too long for my tastes.”
“Well, I thought it was perfect, kinda romantic too.” The Countess reached for another bonbon from a nearby pedestal. “I would really be interested to hear it live whenever I get the chance. Do you think we’ll get the chance to meet the violinist who did play that?”
“The recording you have is from the Canterlot Philharmonic, so I wouldn’t be that surprised.”
“Do you think that I would play a part in his Ninth?” she wondered aloud before popping the chocolate in her mouth.
“Well, it is what you want Countess,” Svengallop responded. “If you wanted to suddenly sing classical music, then I must make it happen. It is my job, after all, to get you in after all.”
“I’ve chosen my audition piece,” she told him.
This got her manager’s attention, “You did?”
She nodded; she got up and went over to one of the trunks, “If I’m going to be auditioning to sing for Beethoven, I think I need to sing something that would impress him. To make a long story short,” she opened up the lid and dug around, “I’ve looked through libraries on solo pieces to find something that would match up his demanding music. And I think I have found the very song to convince him to let me join,” here, she pulled out an aged, yellowed music sheet and hoofed it over to Svengallop.
The white stallion raised a pink eyebrow, “Vifilly?”
“With all those singing lessons,” the Countess smiled, “I believe I can do it. I mean, it’s not as difficult as those other songs that I sing on a daily basis.”
Svengallop flipped through the music, “You know it’s in Istallion, right?”
“I know,” she nodded, “I’ve been practicing how to pronounce it for a while now, but I think I’m ready.”
_*_
Hours later and finding a place to sleep, both Countess Coloratura and her manager set towards the Crystal Empire’s opera house with a small band of bodyguards. Around the shiny streets and through their equally sparkly crowds that recognize the singer, along with the occasional stop for the Countess to stamp a couple of her fan’s albums, they managed to get to the crowded opera house.
The building itself, like the rest of the city-state, was made in a towering, lilac crystal structure with columns and a massive dome. It was brilliantly lit by sage lights that help illuminate the grand theater. So the singer, her manager and the bodyguards slipped through a passageway that leads up to the box seats to where theirs was reserved. Their spot happened to overlook the oval-shaped auditorium and the stage that held many chairs, a shiny grand piano with its lid taken off, and the conductor stand. Overhead from the stage, a bank banner stretched across each wing, but nopony could miss the wire that held a hanging microphone. Near the stage, a seat that was noticeably larger had a set of electrical equipment with a white unicorn fiddling around. Above her was a massive and elaborate chandler that held hundreds of lit candles to give light to the nearly crowded house.
“Imagine what it would be like to play in here,” the Countess commented.
Svengallop looked over at the interior of the theater, “It would be a challenge to play in here, given the shape of this place, given the acoustics.”
“What do you mean?”
“Look at this place,” he pointed out, “This was built solely so that you won’t need a microphone. I can practically hear everything here. You might drop a pin and everypony would hear it.”
Minutes later, the theater stood up as a light shined upon a particular box where the banner of the Empire was on full display. From behind the curtain, that audience applauded as Princess Cadance and Prince Shining Armor came through, waved and took their seats.
It didn’t take long for the orchestra to fall in; they walked to their seats with their instruments. Some of them were beginning to tune up, a humming that grew from the winds to the strings, then onto the brass. Next, the choir came as they trotted up to the stand behind the orchestra; each of them held their scores close by. Then the Pianist and Conductor took their places, waving to an applauding audience. But even then, they did not start. Out from the wings of the stage, came the giant himself to which the younger members of the audience screamed. Many of them were stamping their hooves while others were waving pieces of cloth or their hats as Ludwig hopped off the stage and towards his special chair. Once he sat down, he took out a pair of headphones from his pockets and placed them over his head.
“He didn’t so much as a wave to anypony,” Svengallop commented quietly before the Countess shushed him.
Once the younger members of the audience calmed down, the lights dimmed, but the stage brightens for all to see. It was here that Sea Sharp spoke, “Good evening mares and gentlecolts,” she began. “Before we start, let me say that on behalf of the Canterlot Philharmonic, the Canterlot Opera Company, and of Mr. Beethoven, we thank you all so kindly for coming out to hear us play.”
There was applause before the blue unicorn continued, “Tonight, we’ll be playing in the course of an hour, three new pieces from Ludwig van Beethoven. The first you are going to hear is a fantasy for piano, orchestra, and choir, which will, in the end, will be sung in the composer’s native language of German. After a ten minute intermission, we’ll be playing for you the…” she took out a piece of paper from the stand, “Coriolan Overture, (I think that’s how you pronounce it) then finally, we’ll premier the eighth symphony. Oh! When the choir starts singing, a translation will be provided above me. So without wasting any more time, let us begin with Ludwig van Beethoven’s, Choral Fantasy.”
After the applause died down, Horseshoepin looked down at the keys for a moment before looking up at the microphone that was overhead. Then he glanced over at the giant who nodded for him to begin. Setting his hooves down on the first chords, he opened up with a solo prelude.
From the piano, a grand but serious opening emerged. The intimation of thunder came out from the instruments’ mouth that included its echo. Chords climbed up and down before a moment of peace than to suddenly repeat those stormy notes. This storm only lasted for a moment before the keys started to trickle down like morning rain that soon became enveloped with the storm. Winds from the lower notes blew the higher ones into a whirlwind.
Yet, just as soon as it began, the storm subsided for something to escape. Like a bird, Horseshoepin’s hoof was now set free into the open air of the Opera House. Young but wondering flyer, the keys were searching for a new direction as if it were lost. That was when suddenly the starting melody reappeared, but the free flyer would not give way to the strong currents.
Next, to the Countess, her manager looked at his watch, frowning. It was nearly three minutes since the soloist started, he wondered when or if it will get interesting. That was when he heard, softly at first, the lower strings were finally making themselves known. The cellos repeated the opening theme while the piano tries to start a new line of conversation – even when the rest of the orchestra starts, the notes from the piano still fly’s over.
But the serious tone was broken, however, when a pair of horns suddenly, and finally, gave the music color that it was missing. Suddenly the drably orchestra was dragged out into something colorful. Even the piano seemed to finally found something agreeable. Now the borderline improvised music was taking on a much younger, if not joyful tone as it soars into the air with its newfound peace. Even the pianist was now enjoying this new change when a single flute joined in with the flight. Oboes too took courage in singing this new melody before the bassoons seemed to bounce around with the idea. Then a string quartet took the airy concept into a short Moztrotian style, and before anypony knew it, the orchestra readied themselves as it flew together at once, like a flock of birds.
“It’s catchy,” the Countess whispered. “I think I rather like it.”
“Show off,” Svengallop muttered, but his client didn’t hear it as the piano became one with the orchestra. Horseshoepin seemed to exploring this joyful theme as his hooves went up and down the keyboard, pulling out every trick in the book to give the music texture, color, and emotion like a painting. For the soloist, he could see in his mind’s eye that he was using the instrument to paint a massive canvas of bright violins and dark bassoons with a splash of timpani – and the keyboards were his paintbrush.
Almost like an adventurer, the Pianist explored several moods and hidden corners to the interest of the crystal opera house. One minute, he would be pounding out a rebellious rhythm, the next he walks into the music’s elegant side with its trembling trills.
Thankfully, the orchestra wasn’t too far behind on this musical adventure. Strong chords provided the majestic mountains while the winds its elusive forests. At times, there would be pizzicato of falling rain while at others the blinding light from the shiny horns.
Before long, the choir at last opened up their scores – and while a quartet of singers began, the banner above formed words in which the audience took notice.
Schmeichelnd hold und lieblich klingen unseres Lebens Harmonien,
(How lovely and fair the sound the harmonies of our life,)
und dem Schönheitssinn entschwingen Blumen sich, die ewig blühn.
(From a sense of beauty arise flowers that bloom forever)
Fried und Freude gleiten freundlich wie der Wellen Wechselspiel.
(Peace and joy flow hand in hand like the changing play of the waves.)
Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl.
(Dark emotions, rough and hostile, now order themselves into exalted feeling.)
Wenn der Töne Zauber walten und des Wortes Weihe spricht,
(When music’s enchantment reigns and poetry’s consecration speaks,)
muss sich Herrliches gestalten, Nacht und Stürme werden Licht.
(wondrous things take shape , night and storms turn to light.)
Äuss're Ruhe, inn're Wonne herrschen für den Glücklichen.
(Outer peace, inner bliss are the rulers of the happy man.)
Doch der Künste Frühlingssonne lässt aus beiden Licht entstehn.
(But the arts, like the spring sun, causes light to flow from both.)
Then suddenly, the whole orchestra and choir explode in great joy.
Großes, das ins Herz gedrungen, blüht dann neu und schön empor.
(Great things that have touched the heart, blossoms anew and beautifully on high.)
Hat ein Geist sich aufgeschwungen, hallt ihm stets ein Geisterchor.
(The spirit that soars upwards is echoed eternally by a chorus of spirits.)
Nehmt denn hin, ihr schönen Seelen, froh die Gaben schöner Kunst
(Noble souls, greatly receive the gifts of the noble art)
Wenn sich Lieb und Kraft vermählen, lohnt den Menschen Göttergunst.
(When love and strength are joined together, mankind is rewarded with divine favor.)
While they repeated the words again, the momentum still continued. The solo singers took their turns to shine before the choir returned with greater strength. This went back and forth with Horseshoepin balancing the piano with the magnificent song of the choir. A few minutes later, and feeling like he was galloping a marathon, the Pianist and the orchestra hammered the closing chords to the roar of the crystallized audience.
Among those who were clapping their hooves, Coloratura shouted “Bravo!” over the roar before turning to her manager, “That was really good, wasn’t it?”
“Yes Countess,” he replied in a deadpanned tone. “That was very excellent indeed.”