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Zacharias Werner, Die Söhne des Tals, Auszug, Abschrift Beethovens

Beethoven-Haus Bonn, Sammlung Wegeler, W 24

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Summary
The romantic-mythical tragedies of poet and theologian Zacharias Werner were played in Vienna before 1807. In particular the dramatic poem "Die Söhne des Tals" (The sons of the valley) had caught the attention of those interested in literature and raised interest in the young poet (Caroline Pichler, Denkwürdigkeiten aus meinem Leben, Vienna, 1844, vol. 1, S. 300). It is a fact that Beethoven had studied Werner's work for about ten years (see Solomon, p. 56 and Brandenburg, p. 10). One of the reasons why he copied the sections from "Die Templer auf Zypern" (The templars in Cyprus) was probably that he felt personally affected.

The Templars in Cyprus describes the demise of the Templar Order at the beginning of the 14th century. Protagonists of the scene Beethoven excerpted are the Order's Master Molay and his disciple Robert, guilty of disobedience. Robert is to be excluded from the order and Molay offers comfort by teaching him devotion. A hero has to accept his destiny. He can be defeated but not destroyed. Beethoven marked two sections that express five principles concerning freedom, one's own will and loyalty, all values the composer himself tried to live. "Kampf für das Recht und für des Rechtes Tochter, / Die durch's Gesetz verklärte ew'ge Freiheit; / Ergebung in den ungebeugten Willen / Des eisernen Geschicks; Gehorsam und Entsagung, / Und wandelloser Treue bis in's Grab!" (Robert) und "Du bist ein Held - du bist, was zehnmal mehr ist, / Ein ächter Mensch! ... / Mein starker Robert! - nur des Schwächlings Saiten / zerreißt der Eisenfinger des Geschicks; / Der Heldenmüth'ge bietet kühn die Harfe, / die ihm der Schöpfer in den Busen legte, / dem Schicksal dar. - Mag's in den Saiten wühlen; / Allein den innern herrlichen Accord, / Kann's nicht zerstören, und die Dissonanzen / Verschmelzen bald in reine Harmonie, / Weil Gottes Friede durch die Saiten säuselt. / Mein starker Robert! - Muss der starke Mensch / Erliegen oder auferstehn vom Staube?"

Werner's freemason implications are not to be disregarded. They are also implied within the plot because one of the theories concerning the origins of Freemasonry suggests that the secret society arose from the Templar Order. In connection with other literary and religious quotes in Beethoven's diary the composer's copy of Werner's work indicates Beethoven's transcendental ideas of happiness, ethics and brotherhood just like the Freemasons deduced their principles from past traditions. (Maynard Solomon compares these entries to the diaries of avowal created by Illuminati Order candidates. See Solomon, Beethoven, Freemasonry, and the Tagebuch of 1812-1818, in: Beethoven Forum 8 (2000), p. 128.) Beethoven's conversation booklet contains a note concerning Werner from December 1819 (Ludwig van Beethovens Konversationshefte, vol. 1, Leipzig 1972, p. 172). However, it remains unknown, which of Werner's works is concerned, when Carl Bernard, an admirer of the controversial poet, wrote down the following: "Concerning Werner, if you wanted to set it to music? This is the question". Still, it cannot be ruled out that Beethoven copied the sections and other literary excerpts in his diary in preparation for a musical version. (FG)

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