Disturbed - Want

There were no musical sketches for yet another major and extremely interesting design, which was occupied by Beethoven’s imagination in the last months of 1826: it was a Saul oratorio on a biblical story — the same as in the same name oratorio of Handel. The libretto for Beethoven began to be written by his longtime acquaintance, poet and playwright Christoph Kuffner (1780–1846). They repeatedly met and discussed the details of the future oratorio, as well as other topics - literature, philosophy, politics. Kuffner's idea looked very original; Holtz told Beethoven in the 115th spoken notebook: “Kuffner intends to abandon all usual forms in this oratorio so that you can handle the text as freely as possible. Therefore, he wants to completely reject the hitherto familiar manner of designating arias, duets, terzets and all that jazz,and provide at your discretion those places where you consider it necessary to introduce an aria, a duet, etc. He intends to consider the choir as a permanent participant in the action, as was the case in Greek tragedies, and everywhere to divide it into two hemispheres. There will be two large choirs at the beginning of the first part and at the end of the whole, and between them short intermediate choruses. "