Leonore No. 1 Overture Analysis

The Chronological order of the four overtures for Beethoven’s opera is a debatable because of Leonore No. 1 overture. In general, the chronological order of the four overtures is that Leonore No. 1 (1805), Leonore No. 2 (1805), Leonore No. 3 (1806), and Fidelio overture (1814). However, there is the another chronological order of four overtures that Leonore No. 2 (1805), Leonore No. 3 (1806), Leonore No. 1 (1807), and Fidelio overture (1814). This issue occurred since Leonore No. 1 overture was discovered after Beethoven’s death, and it never performed for public performance at the Beethoven’s lifetime. Originally, Tobias Haslinger (1787 – 1842) who is an Austrian music publisher and composer discovered and purchased the score and parts of the overture by Beethoven at the auction on November 5, 1827, and it was introduced by the
2, 3, 1, and Fidelio. Most of Beethoven’s scholars could not explain regarding it so that they followed a Nottebohm’s claim. Further, Hector Berlioz also believed Nottebohm’s claim, and he stated Leonore No. 1 as the third version. However, the theorists, Albert Levinson, Hugo Riemann and Josef Braunstein denied Nottebohm’s claim in the nineteenth century and asserts the chronological order of four overtures: No.1, 2, 3, and Fidelio. Even though the chronological order of the four overtures is still debatable after discovering since 1827, it is more reasonable that Leonore No. 1 is the first version of four overtures due to the statement from Schindler regarding Leonore No. 1 as the first version, musical connection with the sketches of the Fifth symphony, and the musical development from Leonore No. 1 to Leonore No. 3. Therefore, this paper will argue the chronological order of four overtures from Leonore No. 1 as the first