Fidelio
Here you can see the copyist's manuscript of Pizarro's aria "Ha welch ein Augenblick" ("Ha, the moment has come") from the 1806 version of Leonore, including Beethoven's corrections from 1814.
When revising his opera in 1814, Beethoven did not make many changes to Pizarro's aria. He crossed out single bars and short repeated passages numerous times. Towards the end he inserted the first entry of the chorus ("Er spricht von Tod und Wunde" - "He speaks of death and wounds"), which can be clearly seen in the copy shown here on leaves 18 and 19 (images 35-38) due to the different coloration of the paper. However, it is here in the copy made by the copyist, so it is not the first corrected version.
On the fourth page of the musical text, leaf 3r (image 5) Beethoven changed the dynamic marks in the bass and crossed out the last two bars. He then decided differently, only eliminated the middle bar, changed the fourth crotchet in the first bar and wrote laconically under the last one: "Der gilt" ("This one is valid").
Two layers in the genesis of a great composition. The visible traces of Beethoven's thoughts can be seen here. In the early version he allows Pizarro to begin in an agitated manner, breathless with anger, "Ha - ha - ha! Welch ein Augenblick! - Die Rache - die Rache will ich kühlen" (Ha - ha - ha! The moment has come! - when I can wreak my vengeance). By removing the repeat in the second verse (the "die Rache") Beethoven emphasizes the passionate thrust of Pizarro's words more strongly.
(Helga Lühning)
